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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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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 Sonata presents a rhythmic clarity and contrapuntal sharpness where accents and silences shape the music more than long lyrical lines, with many passages that are incisive and percussive at the piano rather than singing. Technically, you will need to focus on Analysis harmonique (3.6/5) to spot and anticipate modal and dissonant progressions that require quick finger shifts and harmonic relaunches, and on Polyrhythm 2 against 3 (3.1/5) which demands independent hand control to sustain two overlapping rhythmic groupings without tempo drift; this calls for wrist leverage and precise fingering subdivision of the pointed values. From the modern period, the work reflects the composer's search for neoclassical and national idioms within his piano output rather than romantic tradition, and it occupies a notable place among his solo piano pieces.