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.
Night Fantasies conveys a continually shifting mood of quick, darting ideas and sharp outbursts alternating with uneasy pauses, more like a series of short, unstable tableaux than a sustained lyrical arc. Technically, you will need to address Phrasing (2.5/5) by shaping continuity and implicit breaths between short motive cells, Touch Control (2.5/5) to shift rapidly from clear attacks to veiled dynamics and manage voicing, and Fast Passages (2.5/5) which require precise fingerwork and steady rhythmic regularity in fragmented runs; each of these implies practicing slowly then building muscular memory. The piece belongs to the composer's solo piano output and exemplifies his tendency toward animated textures and mobile handling of material.