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.
The piece has a clear, shimmering character built on repeating figures and rhythmic contrasts that produce a bright, slightly mechanical relief, asking you to keep a steady pulse while allowing harmonic colors to breathe. You will need to focus on the Polyrhythm 2 against 3 (3.1/5) — here that means sounding groups of two and three simultaneously without disturbing the melodic line, mentally subdividing the beat and stabilizing the wrists so each hand maintains its pattern; Legato (2.5/5) requires precise finger overlaps and controlled pedal use to connect voices without blurring attacks. From the modern period of Grainger’s output, it belongs to his piano works that combine folk-inspired elements with explorations of texture and color. I do not give a reference recording here because I am not fully confident of a single definitive interpretation for this specific piece.