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Play — Bach – Prelude & Fugue No. 10 in E Minor, BWV 855 | Well-Tempered Clavier I | Marta Czech · Marta Czech (the player loads on click)
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Play — Prelude & Fugue No. 10 in E Minor, BWV 855: Fugue · Johann Sebastian Bach, Glenn Gould (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 prelude and fugue have a contemplative, inward tension, relying on repeated figures that build momentum through subtle contrasts rather than flashy display. You will need to work on the skill “Style baroque (4.6/5)”, which here means refining articulation and ornaments to achieve the appropriate unequal touch and clarity of attack, and “Polyphony for three voices or more (4.4/5)”, which requires separating lines clearly with careful fingering and dynamic shading to preserve the independence of each voice. The piece belongs to Bach’s keyboard repertoire of preludes and fugues, part of his exploration of contrapuntal writing at the keyboard. I do not give a reference recording because I prefer not to risk naming an interpreter uncertainly for this specific work.