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Play — Sonata a-minor after Reinken BWV965 J.S.Bach (Бах. Соната a-moll по Рейнкену BWV 965) · Иван Кощеев (the player loads on click)
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Play — Sonata nach Reinken in A Minor, BWV 965: 1. Adagio · Johann Sebastian Bach, Ramin Bahrami (the player loads on click)
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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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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 Sonata after Reinken in A minor BWV 965 unfolds with a brisk contrapuntal character, alternating incisive figurations and singing episodes that require clear line definition so the counterpoint remains readable. Technically, you will need to focus notably on Touch control (Contrôle du toucher) (2.5/5) — here that means shaping dynamics and attack with subtle changes in finger weight — and on Polyphony in three voices or more (Polyphonie à trois voix ou plus) (2.5/5), which demands finger independence to keep lines separate and to bring out occasional soloized strands without drowning the others. The piece belongs to Bach's keyboard transcriptions and settings where he adapts polyphonic textures for a single keyboard instrument, serving as a compact study in contrapuntal clarity for the pianist.