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.
In this G major piece the mood alternates between a clear singing melody and lively figurations that call for crisp articulation and a sparkling lightness rather than heavy romantic weight. Technically, pay close attention to the Tempo rubato (3.1/5): here it requires measured stretching and shortening of the beat so the melody breathes without losing pulse, and to the Pédale de sustain (3.1/5): precise pedalling (timed changes and partial releases) is needed to connect phrases without blurring the fast figures. The work belongs to the Romantic period and is part of the composer's piano output, oriented toward character pieces suitable for the salon. I do not provide a recommended recording because I do not have a reliably identifiable reference for this specific piece.