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Play — Andante after the violin sonata BWV 964 by J.S. Bach · My Life With Early Music (the player loads on click)
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Play — Sonata in D Minor, BWV 964 (After Violin Sonata, BWV 1003): II. Thema: Allegro · Johann Sebastian Bach, James Tibbles (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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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.
This keyboard sonata, a transcription of a violin sonata, has a character that is both urgent and singing: rapid figuration alternates with lyrical episodes that require immediate response to the line. Among the technical challenges, Touch control (2.5/5) here requires subtle changes of attack and weight to bring out melodic lines without hardening the accompaniment, and Polyphony in three or more voices (2.5/5) demands clear separation of up to three voices through finger placement and hand balance. The piece fits into Bach's practice of adapting and redistributing works between instruments, occupying a place as a keyboard transcription within his body of works. I do not provide a performance reference because I am not 100% confident of a definitive recording for this specific edition.