Formation
Violin and piano
· 2
performers
Required forces
Violin
1 performers
Piano
1 performers
Playable parts
Violin
Piano
MusicCoach difficulty
90/100
Master repertoire
Likely range : 83–97/100
Confidence : 43% · to confirm
BeginnerIntermediateAdvancedVirtuoso
Exam grade
Beyond grade 8
The grade scale stops at 8; this work belongs to concert or diploma repertoire.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Where this work sits
050100
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.
Difficulty sources
MusicCoach expertise
92
92/100 normalised
Estimated skills
Theory
Harmonic analysis
1
Technique
Position changes
1
Technique
Fast passages
1
Interpretation
Phrasing
1
Technique
High positions
1
Rhythm
Complex bowing rhythm
1
Style
Impressionist style
1
Technique
General technique
1
What to play next?
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
Gentle step
The safest next step.
Gentle
Variations on Paganini's 'Caprice no. 24', for solo violin
Eugene Ysaÿe
96/100
+6 pts
9-18 weeks
partial transfer
low risk
to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Coups d'archet composés and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Violin Sonata in F minor, "Au tombeau d'après la sonate de Pietro Antonio Locatelli"
Eugene Ysaÿe
94/100
+4 pts
9-18 weeks
partial transfer
low risk
to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Vibrato and Legato d'archet — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Balanced step
A genuine step up, without a jolt.
Ambitious challenge
A useful leap with guided practice.
Same level
Same level
Tzigane: Rhapsodie de concert, for violin and piano
Maurice Ravel
89/100
-1 pts
6-9 weeks
partial transfer
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Octaves and Rythme d'archet complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Partita no. 2 for Solo Violin in D minor, BWV.1004
Johann Sebastian Bach
87/100
-2 pts
6-9 weeks
new reflexes
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Intonation and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
See the whole progression
Dikhthas presents a hammered, incisive tension, alternating percussive attacks with brief breaths that produce a cut-up nervousness. You will face specifically Touch Control (2.5/5), which requires rapid changes of attack and pressure between a dry legato and a sharper stroke, and Phrasing (2.5/5), which here asks you to shape very short micro-phrases to convey breaths within fragmentary lines. The composition date is listed as unknown and the work appears in the catalogue as a piece for violin and piano exploring instrumental texture and density.