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.
Does this rating look right to you?
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.
One rarely plays the whole work. We do not yet have a level specific to each of these movements: they carry the opus's level, which does not say which one is the most approachable.
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 Suite in E minor projects a taut, restless character, alternating pointed rhythmic figures with more songlike responses that call for contained tension rather than broad cantabile. Technically, the skill “Ornaments baroque (4.1/5)” requires clean, rapid execution of embellishments (trills and mordents) with precise fingering and short, decisive starts, while “Connaissance des formes (4.1/5)” (knowledge of forms) obliges you to shape each dance and repeat so the contrapuntal lines emerge through careful articulation and nuanced phrasing. The piece belongs to the early classical period yet clearly reflects the transitional language C. P. E. Bach developed from the baroque, treating the suite form with a more expressive, episodic approach. I do not provide a recommended recording because I cannot be certain of a specific authoritative interpreter for this particular work.