MusicCoach difficulty
92/100
Master repertoire
Likely range : 85–99/100
Confidence : 43% · to confirm
BeginnerIntermediateAdvancedVirtuoso
Exam grade
Beyond grade 8
The grade scale stops at 8; this work belongs to concert or diploma repertoire.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Where this work sits
050100
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.
Difficulty sources
MusicCoach expertise
96
96/100 normalised
Relative difficulty
99%
Among Niccolò Paganini
Estimated skills
Technique
Compound bowing
2
Technique
High positions
4
Technique
Position changes
2
Fingering
Complex fingering
1
Interpretation
Dynamics
1
Technique
Fast passages
3
Rhythm
Complex bowing rhythm
1
Technique
General technique
2
Ornaments
Trills and ornaments (violin)
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.
Balanced step
A genuine step up, without a jolt.
Ambitious challenge
A useful leap with guided practice.
Same level
Same level
Violin Concerto no. 2 in B minor, op. 7, "La campanella"
Niccolò Paganini
89/100
-3 pts
6-9 weeks
partial transfer
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Croisements de mains — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Violin Concerto no. 6 in E minor, op. post.
Niccolò Paganini
89/100
-3 pts
6-9 weeks
new reflexes
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. The skill that will carry the work: Passages rapides — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Tzigane: Rhapsodie de concert, for violin and piano
Maurice Ravel
89/100
-3 pts
6-9 weeks
partial transfer
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. The skill that will carry the work: Octaves and Rythme d'archet complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
See the whole progression
These Caprices are alternately virtuosic and provocative, often shaped as short dramatic studies where technical display supports a sharp expressivity rather than an extended lyrical line. You will encounter in particular double-stops (5.0/5) demanding precise bow contact and independent intonation of two simultaneous fingers, and rapid passages (5.0/5) requiring nimble finger alternation and wrist movement to maintain clarity and evenness. Written in the Romantic period, these caprices form a central corpus of the solo violin repertory and exemplify Paganini's emphasis on instrumental showmanship. I do not provide a specific reference recording here because I am not fully certain of a single definitive interpretation for this work.