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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 piece feels like a restrained, concentrated prayer: the lower lines provide a clear pedal-like support while the upper voices unfold measured, breathing motifs without excessive display. On the technical side, you will need to work on Reading bass clef (Lecture clé de fa) (3.1/5) to ensure a fluent left-hand part — this means stable hand positions, managing bass-line reading and precise shifts without constant visual checking of the keys — and Baroque ornaments (Ornements baroque) (3.1/5), which require clean execution of short embellishments and cadential figures placed rhythmically and integrated into the musical line. From the Baroque period, the piece belongs to Buxtehude's output of liturgical chorale settings and keyboard paraphrases that make up a significant portion of his catalogue.