MusicCoach difficulty
46/100
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
Theory
Knowledge of forms
1
Ornaments
Baroque ornaments
1
Style
Baroque style
1
Reading
Bass clef reading
1
Interpretation
Dynamics
1
Interpretation
Phrasing
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
10 Magnificat Fugues in the Third Tone, T.134-144
Johann Pachelbel
close skills
low risk
to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
23 Magnificat Fugues in the First Tone, T.101-123
Johann Pachelbel
close skills
low risk
to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus 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
Suite in C minor, T.302
Johann Pachelbel
close skills
moderate risk
fair confidence
A real step up: this piece moves you into Intermediate (around grade 5 ABRSM/RCM). 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
Suite no. 25 in C major, T.301
Johann Pachelbel
close skills
moderate risk
fair confidence
A real step up: this piece moves you into Intermediate (around grade 5 ABRSM/RCM). 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.
Ambitious challenge
A useful leap with guided practice.
Challenge
Magnificat Fugue, for organ in tone 5, no. 7, T. 159
Johann Pachelbel
partial transfer
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: 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.
Challenge
Magnificat Fugue, for organ in tone 5, no. 6, T. 158
Johann Pachelbel
partial transfer
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: 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
Same level
Aria in A major, T.218
Johann Pachelbel
close skills
low risk
to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Voix chantante and Style baroque — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Fugue in C major, BWV.953
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Elementary (around grade 4 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
Invention No.4 in D minor BWV 775
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Indépendance des mains and Doigté complexe — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.