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 transition to the Rondo theme feels tense and fleet-footed, alternating singing phrases with virtuosic flashes that require clear rhythmic articulation to preserve the line through wide leaps; there is a forward-driving urgency toward the main theme. The main technical challenges are Technique générale (5.0/5), which here requires rapid, reliable position changes and precise bow contact to keep a consistent timbre on the upper strings, and Passages rapides (4.5/5), which demand compact fingering and tightly synchronized bow attacks so the fast figures remain clean and even. The passage belongs to the composer's violin-and-orchestra repertoire and functions as a dramatic link leading into the Rondo, illustrating his taste for instrumental contrast rather than standing as a separate showpiece. I do not give a reference performance because I prefer to cite only recordings whose identification and exact correspondence to this passage I can state with complete confidence.