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 overall character is a lively, contrasting suite where dance-like gestures, contrapuntal lines and frequent ornamentation demand clarity and clean articulation: you can expect mobile bass lines and inner voices that must remain distinct. Concretely, focus on Baroque Ornaments (3.1/5) — you will need to place and execute agréments with strict rhythmic placement and reliable fingering to keep small-note figures even — and on Reading Bass Clef (3.1/5), which requires fluent left-hand reading to sustain the lower voices without losing the polyphonic flow. The set belongs to the French Baroque keyboard tradition of the composer, representative of his practice of grouped pieces contrasting in character within a suite.