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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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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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.
Cette pièce dégage un caractère vif et contrasté, alternant épisodes brillants et passages plus chantants qui demandent de souligner les accents et les respirations pour préserver la clarté de la forme. La compétence « Caractère et style (2.5/5) » est ici centrale : elle exige un geste précis pour modeler les phrasés et varier l’articulation (passer du legato aux attaques plus détachées) ainsi qu’un contrôle fin des nuances pour marquer les contrastes sans perdre la linéarité mélodique. Sur le plan contextuel, il s’agit d’une page pour piano solo inscrite dans le répertoire de Schubert, qui illustre son goût pour la mélodie expressive transposée au clavier plutôt que de préciser une datation.