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.
Tartini’s Violin Concerto in D major projects a bright, singing character with sparkling, virtuosic passages alternating with lyrical lines that showcase the violin. Focus work should include Baroque Ornaments (3.1/5) — here the challenge is to execute short trills and appoggiaturas cleanly and in time without breaking the melodic flow — and Independence of Hands (2.5/5), which requires the left hand to negotiate precise shifts and fingerings while the right hand maintains consistent bow articulation and dynamic control. The piece belongs to the Baroque period and represents Tartini’s role in the concerted violin repertoire, balancing virtuosity with ornamented style. I do not give a recording recommendation here, as I prefer not to cite a specific interpretation without complete certainty.