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.
This piece has a cerebral, incisive character where variations follow with rhythmic clarity and contrapuntal density, requiring steady clarity of textures rather than a searching, singing melody. Technical points to work on: Analysis harmonique (3.8/5) — you will need to identify and track successive pitch-class/voice combinations to anticipate transitions and choose fingerings that clarify chordal structures; Contrôle du toucher (2.5/5) — the gesture requires fine layering of sound through very precise dynamics and attacks to bring out different planes, often within small dynamic ranges. The work uses the variations form to explore rigorous transformations of its material, and the exact period is not specified, though it belongs among the composer's piano works focused on variation and counterpoint. I do not give a recommended reference recording because I am not sufficiently certain of a single widely recognized interpretation for this specific work.