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.
These two pieces in A major for organ have a lively yet solemn character, alternating singing melodic lines with clear chordal passages that showcase the instrument's resonance. You will need to work particularly on Bass clef reading (3.1/5): this requires securing the reading of the bass line and precise left‑hand finger placement to keep the harmonic line clean; and Baroque ornaments (3.1/5), where executing small embellishments (mordents, short appoggiaturas, brief trills) demands very clear attacks and coordination between right and left hands so the texture stays transparent. The works belong to the Baroque period and fit among Vivaldi's numerous instrumental pieces for keyboard and ensembles, reflecting his taste for contrapuntal clarity and rhythmic contrast. I will not recommend a reference recording here because I am not fully confident about a specific, widely recognized performance for these pieces.