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 set of short pieces is lively and rhythmic, often driven by sharp accents and melodic outlines that suggest stylized dances, while occasionally opening onto floating harmonic cells yet retaining a taut energy. You will need to pay particular attention to Polyrhythm 2 against 3 (3.1/5): this requires each hand to keep distinct, steady cycles and to align durations precisely so independent accents remain stable rather than slipping; Phrasing (2.5/5) here calls for subtle control of dynamics and connection to make each short motif breathe and to prevent the whole from sounding mechanical. These pieces belong to the composer's modern period and sit among his piano miniatures where national elements are combined with contemporary piano language. I do not give a reference interpretation out of caution, but I can help you find reputable recordings if you wish.