Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This church sonata has a solemn yet lively character, with singing phrases and clear breaths that call for clarity and articulation rather than showiness. You will need to focus especially on Bass-clef reading (Lecture clé de fa, 2.5/5) — here that means reliably reading and realizing the left-hand bass as a harmonic foundation while following quick bass-line shifts — and Baroque ornaments (Ornements baroque, 2.5/5), which require clean execution of small embellishments (short trills and appoggiaturas) woven into the musical line; both demand precise hands and tight rhythmic coordination with the right hand. The piece belongs to the set of church sonatas in Mozart's keyboard output and reflects the liturgical, pedagogical function of such works rather than the large-scale symphonic or solo piano genres.