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.
These 3 Piezas offer tense rhythmic drive and contrasted pianistic colors, alternating percussive passages with more translucent pages that call for clear articulation rather than a single generic expressivity. You will need to work the Polyrhythm 2 against 3 (3.1/5) by developing precise hand independence and a reliable internal subdivision so the 2 and 3 remain steady without losing momentum, and the Style impressionist (3.1/5) requires careful pedal use and voicing to achieve the floating timbres and harmonic balances implied in the score. The piece belongs to the composer's modern period and is among his early piano works, reflecting a phase of rhythmic and coloristic experimentation in his output. I do not provide a reference performance here out of caution regarding exact recording correspondences.