MusicCoach difficulty
55/100
Intermediate
Level of the complete work
We have no level specific to this movement. The figure above is that of the complete work: within a cycle, movements often differ widely in demand.
Estimated skills
Theory
Knowledge of forms
1
Ornaments
Baroque ornaments
1
Style
Baroque style
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Technique
Legato
1
Interpretation
Dynamics
1
Technique
Three-or-more-voice polyphony
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
Suite, for violin and piano, op. 11 in D
Karl Goldmark
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Changements de position and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Suite for Violin and Piano, op. 6: II. Moto perpetuo
Benjamin Britten
partial transfer
low risk
to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Style moderne et contemporain and Spiccato — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced step
A genuine step up, without a jolt.
Balanced
Suite in F for Violin and Piano, op. 93, "Im alten Stil"
Max Reger
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Passages rapides and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Suite in A minor, op. 103a, for violin and piano
Max Reger
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Positions hautes and Analyse harmonique — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Ambitious challenge
A useful leap with guided practice.
Challenge
Suite no. 1 for Solo Violin
Ernest Bloch
partial transfer
high risk
to confirm
An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Intonation and Style moderne et contemporain — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Suite Florentine for violin and piano
Charles-Marie Widor
close skills
high risk
to confirm
An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Positions hautes and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Same level
Petite Suite, for violin and piano, op. 14
César Cui
close skills
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Changements de position and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Kaleidoscope, 24 morceaux, for violin and piano, op. 50
César Cui
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Ornements romantiques and Coups d'archet composés — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Same level
Violin Partita no. 3 in E major, BWV 1006: II. Loure
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Positions hautes and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.