MusicCoach difficulty
61/100
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
Technique
Fast passages
1
Theory
Knowledge of forms
1
Ornaments
Baroque ornaments
1
Style
Baroque style
1
Reading
Bass clef reading
1
Technique
Hand independence
1
Interpretation
Phrasing
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
Overture à la Polonoise, suite for harpsichord in D minor, TWV. 32:2
Georg Philipp Telemann
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Style baroque and Connaissance des formes — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Suite in C major, BuxWV226
Dietrich Buxtehude
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Style baroque and Connaissance des formes — 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
English Suite no. 1 in A major, BWV.806
Johann Sebastian Bach
close skills
moderate risk
fair confidence
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Passages rapides and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
English Suite no. 4 in F major, BWV.809
Johann Sebastian Bach
close skills
moderate risk
fair confidence
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Passages rapides and Style baroque — 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
Partita no. 1 in B flat major, BWV.825
Johann Sebastian Bach
close skills
high risk
to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Staccato and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Ordre 7 in G or G-
François Couperin
close skills
high risk
to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. 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.
Same level
Same level
Fugue no. 12 en Fa Mineur, BWV.881
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Analyse harmonique and Polyphonie à trois voix ou plus — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Fuga a 2 in C
Johann Pachelbel
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Analyse harmonique and Polyphonie à deux voix — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Sinfonia No.2 in C minor BWV 788
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Polyphonie à deux voix and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.