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.
The piece unfolds as tightly woven counterpoint where voices answer and interlace in a puzzle-like manner rather than a continuous lyrical monologue, requiring constant attention to independent lines. On the technical side, note the stated demands: Technique générale (2.5/5) — here that means controlling finger independence and voicing so each contrapuntal line remains clear, and Polyrhythmie 2 contre 3 (2.5/5) — you will need to render the 2-against-3 by subdividing the beat and keeping one hand’s pulse steady while the other overlays the three-part subdivision. This is a Baroque work by Bach conceived as a set of canons and fugues around an imposed theme, and it holds a particular place as a contrapuntal exercise in his output. I do not give a recording recommendation here because I am not fully certain of a single, widely agreed reference for this piano setting.