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 Valse-Scherzo combines a dancing, sparkling character with sudden dramatic flashes: you encounter bright, brisk turns alongside passages where the melody gleams over a more tense accompaniment. Technically, you will face Passages rapides (2.5/5) requiring finger agility and crisp articulation to keep the lines clear, and Independence of the hands (2.5/5) where the left hand must hold a steady supporting rhythm while the right hand plays decorative figurations — you will need to stabilize the left wrist and keep the right fingers detached. As op. 7, it belongs to the composer's early published output and sits in his piano solo repertoire as a virtuosic salon piece. I do not give a performance reference here out of caution, since I am not certain of a single widely recognized recording for this specific work.