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.
A genuine step up, without a jolt.
A useful leap with guided practice.
This C major fugue has a contrapuntal brightness and incisive energy where subjects answer one another clearly, alternating brilliant passages with more singing moments that require precise articulation. You will face technical challenges especially in Harmonic analysis (4.4/5) — you must identify and highlight the modulations and tension resolutions to choose appropriate fingerings and dynamic shaping — and in Polyphony for three voices or more (4.4/5), which demands finger independence to balance each line clearly, sustaining the soprano while controlling inner voices. Placed in the Romantic period, the piece shows how fugal technique from the classical tradition is reworked with a more personal expressive palette. I do not provide a performance reference here out of caution.