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 four-hand piano piece presents a chamber-dance mood that is lively and slightly mischievous, with pronounced rhythmic episodes that demand ensemble precision and occasional syncopated accents that make the piano sound almost percussive. Technical challenges include Technique générale (2.5/5) — here that means negotiating interwoven passages at a brisk tempo while keeping the motifs clear — and Independence of the hands (2.5/5) — each hand must sustain its own rhythmic and phrasing line even as they physically overlap. As context: this is a four-hand piano work by John Corigliano, with the period of composition unspecified, and it belongs to his small body of works for keyboard and chamber forces. I do not provide a performance reference because I am not certain of a widely recognized recording for this specific piece.