MusicCoach difficulty
80/100
Master repertoire
Level of the complete work
We have no level specific to this movement. The figure above is that of the complete work: within a cycle, movements often differ widely in demand.
Estimated skills
Theory
Knowledge of forms
1
Ornaments
Baroque ornaments
1
Style
Baroque style
1
Reading
Bass clef reading
1
Tone
Hand balance
1
Tone
Touch control
1
Technique
Three-or-more-voice polyphony
1
What to play next?
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
Gentle step
The safest next step.
Gentle
Ordre 15 in A minor or A
François Couperin
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Indépendance des mains and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
8 Suites, Z.660-669
Henry Purcell
partial transfer
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à deux voix and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced step
A genuine step up, without a jolt.
Balanced
Partita no. 6 in E minor, BWV.830
Johann Sebastian Bach
close skills
moderate risk
fair confidence
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
Chaconne with 49 variations in C major, HWV.484
George Frideric Handel
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Analyse harmonique and Polyphonie à deux voix — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Ambitious challenge
A useful leap with guided practice.
Challenge
Toccata and Fugue in C
Johann Pachelbel
partial transfer
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Staccato and Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Passacaglia and Fugue in C minor, BWV.582
Johann Sebastian Bach
partial transfer
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Analyse harmonique and Trilles — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Same level
Ordre 7 in G or G-
François Couperin
close skills
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Indépendance des mains and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Fugue no. 2 en Do Mineur, BWV.871
Johann Sebastian Bach
close skills
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Analyse harmonique and Indépendance des mains — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Fugue no. 5 en Ré Majeur, BWV.874
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Analyse harmonique and Indépendance des mains — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
This IV. Air from Partita No. 6 in E minor unfolds with a restrained, dignified lyricism, alternating singing melodic lines with discreet accompaniment that requires clear polyphonic balance. You will face specific technical issues such as Ornaments baroque (4.1/5) — you must choose and execute short, precise ornaments quickly to preserve the slow-dance character without muddying the line — and Reading bass clef (3.1/5), since the left hand requires confident reading of supporting basses that underpin the counter-melody; these demand anticipatory fingering and crisp voice articulation. From the Baroque period, this partita is part of Bach’s major keyboard suites and showcases his contrapuntal writing within the suite/partita genre.