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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 Polonaise in A major feels dance-like yet dramatic, alternating brisk, pointed figures with moments of proud, flowing melody that require confident attack and clear contrasts between sections. You will mainly face the Passages rapides (4.3/5), which demand finger agility and forearm rotation to maintain clarity and evenness in fast runs, and the Rythmes pointés (4.3/5), which require precise dotted-note placement and careful control of note durations so the articulated patterns remain transparent. It belongs to Dvořák’s Romantic output for piano, reflecting his interest in dance forms and salon pieces that blend folk-influenced rhythms with concert expression. I do not provide a recommended recording here because I am not certain of a single widely recognized reference for this specific piece.