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 A major concerto projects a bright, singing character, alternating virtuosic bowing passages with lyrical, dance-like episodes where rhythmic precision is crucial. You will face concrete technical challenges in Ornements baroque (3.1/5), which demand quick, clean execution of mordents and appoggiaturas with precise articulation, and in Contrôle du toucher (2.5/5), which requires subtle adjustments of bow pressure and speed to maintain clarity of fast figures while preserving the cantabile line. The work belongs to the Baroque period and reflects Tartini’s concertante output, highlighting his taste for melodic virtuosity and contrasts between soloist and orchestra. I will not suggest a specific reference recording here because I am not fully certain of a single authoritative interpretation for this particular concerto.