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.
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The movement feels like a tight, driven counterpoint where a relentless subject pursues itself, giving a sense of concentrated struggle rather than expansive melody. Technically, you should focus first on Intonation (4.3/5): the challenge here is maintaining perfectly true intervals in double stops and fast lines, which requires millimetre-precise left-hand placement and controlled vibrato; Legato bowing (3.6/5) is also essential because you must connect distinct contrapuntal voices without breaking attacks, using economical bow changes and steady bow pressure. Firmly Baroque, this fugue belongs to Bach's solo violin sonatas and showcases his intensive use of counterpoint and fugal writing within the solo repertoire. I avoid naming a specific reference recording here out of caution, but we can discuss notable interpretations with your teacher if you wish.