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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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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.
Skills not yet identified for this work.
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.
No suggestion yet.
A genuine step up, without a jolt.
A useful leap with guided practice.
This piece feels meditative and resigned, with phrases that require clear articulation and a sense of the underlying text even in an instrumental transcription. No specific technical skills were supplied for this work and the estimated difficulty is very low (0/100), so no major technical obstacles are expected; the student's main tasks will be securing melodic line quality, clarity of voicing, and steady tempo rather than virtuosic feats. The title shows this is a cantata by Johann Sebastian Bach (BWV 27) presented here as a piano solo adaptation, so it belongs to his output of sacred vocal works now arranged for instrumental study or performance. I do not give a reference interpretation because I am not certain of a widely recognized solo-piano recording for this particular transcription.