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 unfolds with bright, contrasting character, alternating virtuosic figures and lyrical passages that call for rhythmic clarity and crisp articulation of the variation themes. Technically, the skill “Analysis harmonique (3.8/5)” is crucial: you must anticipate modulations and prepare harmonies through hand distribution and precise fingerings to bring out sustained basses and inner voices, and “Connaissance des formes (3.8/5)” helps locate variation sections so you can allocate effort and shape transitions without losing the overall architecture. Placed in the Romantic period, it shows how Glinka transforms an operatic theme into a set of piano variations, reflecting his contribution to 19th-century Russian instrumental repertoire. I do not give a reference interpretation because I am not fully certain of a specific recording for this work.