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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A useful leap with guided practice.
This Suite in A major has a bright, dance-like clarity with contrapuntal episodes that call for a steady pulse and a slightly detached touch to bring out the individual voices. The main technical challenges are the Ornaments of the Baroque (4.1/5) — executing rapid, precise trills and mordents within the flow without weighing down the beat — and Bass-clef reading (Lecture clé de fa, 3.1/5), since you must keep a clear bass line while shifting the left hand across registers. The piece belongs to the Baroque repertoire and reflects the composer’s typical polyphonic keyboard dance-suite output. I do not provide a specific reference performance here out of caution.