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 Te Deum in the Phrygian mode has a solemn, slightly austere color, with passages that call for clear articulation and a sustained melodic line on the piano to bring out the modal tension. You will specifically need to work on Lecture clé de fa (3.1/5) — here that means reading and precisely aligning the lower parts to keep the counter-line steady in the left hand — and Ornaments baroque (3.1/5), which requires quick, controlled attacks to execute mordents and small trills in a restrained, stylistically appropriate way; Style baroque (3.1/5) reinforces the need for detached articulation and disciplined phrasing, while Nuances (2.5/5) means shaping dynamics without resorting to overly romantic contrasts. A Baroque sacred piece, it belongs to Buxtehude's liturgical output and reflects his use of archaic modes and polyphonic textures, so it sits naturally among his church works. I do not give a recommended recording because I am not 100% certain of a definitive interpretation for this specific version.