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Play — Yoonhee Yang - J.S.BACH Sinfonia No.9 in f minor, BWV 795 바흐 신포니아 9번 · Yoonhee Yang 양윤희 (the player loads on click)
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Play — Sinfonia No. 9 in F Minor, BWV 795 · Johann Sebastian Bach, Simone Dinnerstein (the player loads on click)
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Public-domain sheet music on IMSLP ↗
Official level, taken from the exam syllabus.
Other syllabi : AMEB Grade 6
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 a contained nervous energy and contrapuntal drive: short motifs answer each other in quick sequences and you must keep clear line even when voices overlap. Key skills here are Style baroque (4.6/5) and Polyphony of three voices or more (4.6/5) — this means using precise Baroque articulation (short, detached attacks on figures) and shaping each voice independently, balancing the principal melody with inner voices through refined finger control. Listed among the pedagogical sinfonias and polyphonic keyboard pieces, it belongs to Bach's set of works aimed at practicing counterpoint and sustaining multiple independent lines, with the period of composition not specified here.