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 Love Walked In for piano has a relaxed yet sincere atmosphere, with melody fragments that seem to float above a subdued, jazz-tinged accompaniment. You will specifically face the Polyrhythmie 2 contre 3 (3.1/5), which here requires coordinating one hand on duplets while the other plays triplets, and the Style impressionniste (3.1/5), which calls for refined touch, careful pedaling and voicing to produce delicate colours without blurring the line. Within Gershwin’s output, the piece belongs to his modern repertoire that blends popular songcraft with refined harmonies and is often performed as a piano transcription of the vocal standard. I do not provide a reference interpretation because I am not fully certain of a single widely recognized piano recording for this specific version.