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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.
The piece unfolds an intimate, nocturnal mood: the violin’s singing line floats over a muted orchestral accompaniment, favoring tender coloristic touches rather than overt drama. Technically you will face Tempo rubato (3.1/5) — here that means shaping phrases with very subtle local delays and advances while staying tightly synchronized with the orchestra — and Pédale de sustain (3.1/5), which requires sustaining resonance and a seamless legato through refined bow control and finger shifts without losing tone. The work is placed in the Romantic period and is listed as Op.19, no.1 (H.74) in Holst’s catalogue, marking it among his pieces for violin and orchestra rather than his larger choral or orchestral cycles.