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Play — Bach: Polonaise in G Minor, BWV Anh. 119 (Student Edition) · Bach Piano Scores (the player loads on click)
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Play — Polonaise, BWV Anh. 119 · Johann Sebastian Bach, Gottfried Heinrich Stölzel, Georg Philipp Telemann, Carl Philipp Emanuel Bach, Christian Petzold, Anonymous, Stefano Cardi (the player loads on click)
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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 Polonaise is dance-like yet dramatic, alternating strong accented beats with more ornamented figures that create sustained rhythmic tension. Technically you will face notably Ornaments baroque (4.4/5) — requiring clear, measured execution of embellishments (short trills and mordents) to preserve rhythmic articulation — and Octaves (4.3/5), which demand stable arm projection and wrist control to maintain power and precision without tension; Passages rapides (4.3/5) also appear, bringing fast runs that call for precise fingering and relaxed motion. The piece is listed in the BWV Anhang, meaning its attribution to Bach is uncertain and its exact period is unknown, though it sits within the dance-derived, baroque-style repertoire.