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 piano piece has a playful lightness and clear melodic lines, with phrases that need forward motion without weight and quick responses that recall the pastoral theater it comes from. You will specifically face the Passages rapides (2.5/5), which call for steady finger agility and independence to keep the right-hand line clean over the accompaniment, and Ornaments baroque (2.5/5), which require short, precise execution of trills and appoggiaturas with controlled wrist motion and exact fingering. The piece belongs to Mozart's operatic output and should be seen as an excerpt tied to his vocal catalogue rather than to his solo piano works; the precise period is listed as unknown, so approaching the classical style with care is advised. I do not provide a reference recording because I am not completely certain of a widely recognized solo-piano interpretation for this specific excerpt.