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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.
This piano arrangement offers a measured clarity and hymn-like solemnity, with phrases that need breathing room and chordal accents that call for a singing profile rather than heavy emphasis. Technique générale (2.5/5): you will need to ensure even attacks and hand balance to keep inner voices clear without overpowering the main melody, a gesture requiring dynamic control and digital independence; Ornements baroque (2.5/5): the small ornaments demand precise, short execution, with a relaxed wrist and compact fingers so trills and mordents fit cleanly into the line without breaking the flow. The piece belongs to Bach's cantata output, catalogued as BWV 137, placing it within his liturgical chorale repertoire rather than his solo keyboard works. I do not give a recommended recording here because I am not certain of a single widely recognized reference for this specific piano transcription.