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 short Dvořák piece feels intimate and pastoral, shifting between singing melodic passages and crisp responses that call for a warm but controlled tone rather than exaggerated expressivity. Technically you will face Tempo rubato (3.1/5) — small holds and pushes are needed to shape phrases while keeping the underlying pulse intact — and Sustain pedal (Pédale de sustain) (3.1/5) — the pedal must connect nearby harmonies without blurring line endings, requiring precise, targeted lifts. From the Romantic era, it belongs to the composer's smaller piano character pieces that emphasize lyrical melody and national color rather than large-scale forms. I do not give a reference interpretation because I am not sufficiently certain of a single widely recognized recording for this specific piece.