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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 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 the character of a restrained, meditative chorale, where the main melody unfolds over a calm, steady accompaniment and requires careful balancing of voices to keep its solemn line. You will specifically face the Bass clef reading (Lecture clé de fa, 3.1/5) — this means reliably locating and reading the bass line, adjusting left-hand position and fingerings to keep a stable basso continuo — and Baroque ornaments (Ornements baroque, 3.1/5), which require executing short, precise ornamental figures such as mordents or small appoggiaturas integrated into the flow without disturbing the pulse. It belongs to Bach's Baroque output in the tradition of liturgical chorales and keyboard harmonizations that he produced within his choral and church music practice. I do not offer a performance reference here because I prefer not to name recordings or performers unless I am certain of their direct association with this specific work.