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 G major concerto feels bright yet singing, alternating long lyrical lines with sprightly episodes of small leaps and pointed motifs that require clear articulation and a strong sense of melodic direction. Technical points to work on: Ornaments baroque (3.1/5) — you will need to execute appoggiaturas and small trills integrated into the phrasing, which demands quick left‑hand inflections and refined bow control so the ornament becomes part of the musical line; Lecture clé de fa (3.1/5) — when reading the orchestra or continuo parts you must become comfortable mentally transposing and adjusting fingering choices to connect that register with standard left‑hand positions. The work belongs to the Baroque period and exemplifies Tartini's violin writing, combining instrumental singing with soloistic display.