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 short contest piece projects a contained sensuality and sharp dynamic contrasts, with brief lyrical outbursts alternating with more pointed replies, requiring precise micro-accents to make the line breathe. You will particularly face Tempo rubato (3.1/5): here it means measured flexibility of pulse, i.e. small timing adjustments executed with controlled arm and wrist movement to stretch or compress motifs without losing harmonic direction, and Sustain pedal (Pédale de sustain) (3.1/5): the pedal work calls for delicate releases and half‑pedaling to keep inner voices clear while linking harmonies. Placed among small piano pieces for salon or competition use, it is part of the composer’s minor piano repertoire and functions as a study in expression and stylistic nuance. (I do not give a reference performance because I am not fully certain of a single widely recognized recording for this exact piece.)