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.
Skills not yet identified for this work.
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.
The Allemanda and Corrente in F minor convey a character that is both dance‑like and contained: the Allemanda moves with a slightly grave, measured pulse while the Corrente offers a brighter, more sprightly relief without excessive dramatics. The overall difficulty rated 28/100 points to a fairly accessible solo violin writing; with no specific skills provided, one should expect the usual demands of the genre and level indicated — accurate intonation, consistent articulation, and smooth handling of quicker passages at a moderate tempo. These are two instrumental dances for solo violin that belong to the tradition of suite movements; their exact place in Bononcini's catalogue is not specified here. I do not provide a reference interpretation because I cannot be certain of a specific, widely recognized recording for these particular pieces.