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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 solo piano piece keeps an intimate, questioning mood, with motifs that answer one another like an inner dialogue rather than an uninterrupted melody. You will need to focus on Reading bass clef (Lecture clé de fa) (2.5/5): this means confidently placing the left hand in the low register to read and support the bass without visual hesitation, and on Baroque style (Style baroque) (2.5/5): using detached articulation, subtle dynamic shading and precise execution of ornaments so phrases breathe. Polyphony of three voices or more (Polyphonie à trois voix ou plus) (2.5/5) requires separating up to three independent lines at the keyboard, balancing the voices and highlighting entries so the counterpoint remains clear. The piece belongs to Bach’s baroque output adapted for keyboard and reflects the period practice of contrapuntal continuity and reworking of vocal material.