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 set of waltzes has a salon-dance character that is both slightly nostalgic and sparkling, alternating singing melodies with lively accompaniment figures that require keeping the ternary pulse flowing. Technically, you will face notably Tempo rubato (3.1/5), requiring small rhythmic freedoms in repeats and transitions (apply measured inflections without losing the underlying beat), and Sustain pedal (3.1/5), which demands precise control to bind voices and color harmonies without blurring (change pedal on chord shifts and clean the basses). The piece belongs to the Romantic period and occupies a role as a character and salon piano piece within the composer's output. I do not provide a reference interpretation here because I am not 100% certain of a widely recognized recording for this specific work.