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 set of variations on the chorale “Herzlich tut mich verlangen” feels contemplative yet taut, alternating a firmly grounded bass chorale with decorative figures that require clear articulation so the cantus firmus remains audible. You will notably face the need for solid Analysis harmonique (3.8/5): anticipate chord progressions to balance the voices, keep the bass clear and highlight cadences, and adjust the left hand for harmonic prolongations; and for Ornements baroque (3.1/5) be precise in executing trills and short groups with correct rhythmic placement and stable fingerings so they support rather than obscure the line. From the Baroque period, these variations are a typical example of Pachelbel’s chorale‑variation writing for keyboard and a useful study in his contrapuntal approach.