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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.
One rarely plays the whole work: each movement has its own level — often very different from the opus's overall score.
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.
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This G minor Sonata opens with a tense, contrapuntal Allegro that feels more like a driven, rhetorical vocal line than a relaxed lyrical piece, giving it a focused, incisive character. You will face specific technical demands: Double stops (4.3/5) require very controlled bow distribution and precise left-hand fingering to keep intervals clean and balanced, and Position shifts (4.3/5) call for accurate left-hand shifts into higher positions without losing intonation or tone consistency. Composed in the Baroque period, the sonata is a key work in Bach's solo-repertoire where he explores fugue and polyphony on a single-line instrument. I do not list a reference interpretation here, out of caution about citing a specific recording without full certainty.