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.
Does this rating look right to you?
This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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 tense, incisive character rather than a lyrical one, demanding clear articulation of entries and a detached touch to bring out the interweaving subjects. You will need to focus especially on Polyphony for three voices or more (4.4/5) by securing the independence of each line through finger distribution and controlled accents, and on Harmonic analysis (4.4/5) to anticipate inversions and modulations so you can shape fingerings and dynamics at cadences; the required gesture is both digital (separating voices with distinct attacks) and musical (preparing harmonic resolutions). It belongs to the Romantic period and shows Grieg working with older contrapuntal forms within his nineteenth-century harmonic language, functioning more as a contrapuntal study within his output than a large-scale public work. I do not provide a reference recording because I am not certain of a widely recognized interpretation for this specific fugue.