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Public-domain sheet music on IMSLP ↗
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.
This piece calls for a crisp, determined thrust rather than diffuse lyricism: the line must resist, with clear attacks and a rhythmic drive that sustains the theme’s continual assertion. You will need to work specifically on Phrasing (2.5/5) by shaping lines to mark responses and drives, and Baroque style (2.5/5) by using precise articulation and measured ornamentation that make motifs stand out without weighing the flow; concretely this means assured fingers on attacks, weight transfers toward index/middle for cadential points and economical agogic adjustments to preserve clarity. The work belongs to Bach’s vocal cantata repertoire and is presented here in a piano version, so aim to recreate a vocal line on the instrument. I do not give a reference recording because I am not certain of a widely recognized single interpretation for this piece.