MusicCoach difficulty
54/100
Intermediate
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
Tone
Touch control
1
Technique
Legato
1
Technique
Two-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
Appendix: Chaconne; Alternative version HWV 435
George Frideric Handel
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Contrôle du toucher — what matters is quality of attack and evenness of tone, not speed.
Gentle
Suite in C major, FP19
Francis Poulenc
new reflexes
low risk
to confirm
A short step up — but it is the one that moves you into Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced step
A genuine step up, without a jolt.
Balanced
Prelude and Chaconne G major HWV 442
George Frideric Handel
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Polyphonie à deux voix — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Suite E flat major BWV 819a
Johann Sebastian Bach
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Polyphonie à deux voix — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Ambitious challenge
A useful leap with guided practice.
Challenge
French Suites
Johann Sebastian Bach
partial transfer
high risk
to confirm
An ambitious leap into Intermediate (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Style baroque and Polyphonie à trois voix ou plus — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Challenge
French Suite no. 4 in E flat major, BWV.815
Johann Sebastian Bach
new reflexes
high risk
to confirm
An ambitious leap into Intermediate (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Same level
Invention No.14 in B-flat major BWV 785
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Indépendance des mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Chromatic Invention (2)
Béla Bartók
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Intermediate (around grade 5 ABRSM/RCM): different ground, same level. What changes is the skill in play: Polyphonie à trois voix ou plus — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Invention No.11 in G minor BWV 782
Johann Sebastian Bach
new reflexes
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Indépendance des mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
This Allemande calls for a steady, inward pulse with a slight sway in the phrasing that suggests measured restraint rather than overt exuberance, relying on subtle inflections for expression rather than strong accents. The main technical challenges are Touch control (Contrôle du toucher, 2.5/5), which here means managing finger weight to shape tiny dynamic nuances and clean attacks without breaking the line, and Two-voice polyphony (Polyphonie à deux voix, 2.5/5), which requires independent finger work to balance and bring out the melody against the supporting voice. The piece belongs to Bach's keyboard suite repertoire and follows the convention of dance movements arranged for solo keyboard. I do not provide a recommended recording because I am not fully certain of a definitive reference for this particular version.