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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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 piece projects a tense rhythmic energy and dramatic sharpness, with wide leaps and minor-key episodes that call for crisp articulation more than mawkish lyricism. Technically, you will need to address Lecture clé de fa (3.1/5) — here that means quickly reading lower clefs and adjusting left‑hand positions and extensions to keep intonation and tonal weight — and Ornements baroque (3.1/5), which requires clean execution of ornaments with coordinated right‑hand bow strokes and left‑hand fingerings so mordents and trills support the rhythmic accents. The work belongs to the Baroque period and fits within the composerʼs concertos designed to showcase the interaction between solo violin and orchestra.