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 Violin Sonata in B minor has a restrained, capricious character, alternating singing passages with lively replies that call for clear phrasing more than overt drama. With an estimated difficulty of 28/100, the technical demands are modest and correspond to what one expects from a solo violin sonata: keeping the line clear, balancing implied accompaniment and melody, and articulating brisk passages cleanly without excessive virtuosity. Listed among the "Amusemens pour la Chambre" (liv. VI,4), it belongs to the composer's salon/chamber output and serves as a character piece within his catalogue. I do not provide a reference recording here, as I cannot confidently identify a well-established interpretation for this specific work.