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.
Cette ode latine pour piano se présente avec un relief contrapuntique discret et un flux cérémoniel : elle impose des lignes mélodiques qui se répondent et un climat mesuré plutôt que des éclats dramatiques. Sur le plan technique, attention à l'Analyse harmonique (2.5/5) qui ici exige de repérer rapidement les déplacements d'accords pour anticiper les résolutions et ajuster la main d'accompagnement, et à la Polyphonie à deux voix (2.5/5) où il faudra maintenir l'indépendance des deux voix en équilibrant les timbres entre les mains et en soignant la conduite des voix pour que les entrées restent claires. L'œuvre figure dans l'Anhang du corpus bachien, ce qui signale une attribution incertaine et la place secondaire de la pièce par rapport aux grandes œuvres vocales et instrumentales connues du compositeur.