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 character of this Bach piece favors contrapuntal clarity and precise articulation: expect a lean, incisive discourse rather than a dense harmonic wash. Technically, the Bass clef reading (Lecture clé de fa, 2.5/5) will require careful fingering and left‑hand placement to keep the lower lines clean, and the Baroque style (Style baroque, 2.5/5) calls for controlled dynamics and short attacks to preserve contrapuntal articulation — concrete gestures include isolating individual voices and minimizing pedal use. The work belongs to Bach’s keyboard repertoire and reflects the contrapuntal and chorale-related forms common in his output for keyboard. I do not give a reference recording here out of caution.