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Public-domain sheet music on IMSLP ↗
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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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 piece has a pastoral, contemplative clarity: the lines breathe slowly and the balance between the cantus firmus and accompaniment creates a calm, meditative mood rather than showy virtuosity. Technically, you will need to work on Bass clef reading (Lecture clé de fa) (3.1/5) — here that means reading and projecting a bass line often carrying accidentals with the left hand — and Baroque ornaments (Ornements baroque) (3.1/5), which requires executing short, precise mordents and embellishments with flexible fingers and controlled release so ornaments do not overwhelm the melodic line. From the Baroque period, it belongs to Bach’s large body of chorale preludes where he treats liturgical melodies in clear contrapuntal textures. I do not provide a reference interpretation here because I am not fully certain of a specific recording for this exact piece.