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.
Does this rating look right to you?
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 produces a chiaroscuro piano mood, with overlapping figures that create a sense of rhythmic suspension and delicate color rather than a continuous singing melody. You will need to work the Polyrhythm 2 against 3 (3.1/5) by coordinating the hand playing triplets against the other hand in duple time, placing accents and subdivisions steadily so the cross-rhythm feels intentional rather than sloppy; and Touch control (Contrôle du toucher) (2.5/5) requires fine adjustment of finger weight to bring certain voices forward while keeping others back, subtly varying attack and legato. In context, it belongs to Grainger’s modern-period piano output, where he often explored timbre and texture more than large-scale sonata development. I do not provide a reference interpretation here because I am not fully certain of a specific widely recognized recording for this particular piece.