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 piece projects a hushed, contemplative mood, alternating sustained harmonic washes with brief melodic flashes that feel like an inward prayer set against a shifting background. Technically, you will need to work on Tempo rubato (3.1/5) by learning to bend the pulse slightly to let phrases breathe without losing continuity, and on the sustain pedal (3.1/5) which requires precise lifts and changes to keep voices clear while preserving resonance; these translate into small tempo adjustments independent of the hands and careful synchronization of pedal release with harmonic shifts. The work belongs to Franck's Romantic output, exploring organ-like textures and keyboard miniatures where color and expressive depth outweigh sheer virtuosity. I do not give a recording reference here out of caution about precise attribution.