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 B minor concerto feels lively yet introspective: singing lines alternate with nimble virtuoso replies, producing a mix of dark lyricism and agile drive. Technical challenges to focus on include Lecture clé de fa (3.1/5), since you will need to read orchestral parts in the alto/bass clef to align entrances and responses, and Ornements baroque (3.1/5), which require precise execution of short trills and appoggiaturas, coordinating left-hand articulations with bow strokes to place ornaments correctly in the baroque manner. As a baroque work, it belongs to the group of violin concertos that helped shape the soloist's role in the early 18th-century repertoire. I do not give a reference recording because I am not certain of a single widely recognized performance for this specific piece.