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 set of variations on the chorale has a meditative, ceremonial character, the chorale melody acting as a spine while the variations ornament and develop it with tight contrapuntal textures. You will need to work explicitly on Analysis harmonique (3.8/5) to follow and anticipate chord progressions and keep voice-leading clear — this means converting harmonic shifts into precise right/left hand voicings and secure inner-line control — and on Connaissance des formes (3.8/5) to respect the logic of the variations and manage repeats and pacing, so you can memorize each variation's layout and shape dynamic choices within repeats. The piece belongs to the Baroque period and reflects the common practice of using chorales as material for instrumental variations. I do not give a reference recording here because I am not certain of a single widely established interpretation for this exact work.