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.
Camargo Guarnieri's Violin Concerto No. 2 has a taut, dance-like atmosphere, often driven by syncopated accents and shimmering orchestral colors rather than extended romantic cantilena. You will face specifically Polyrhythm 2 against 3 (3.1/5), which requires precise rhythmic placement of the bow arm (and internal pulse control) so your attacks remain steady while the orchestra plays cross-rhythms, and Impressionist style (3.1/5), which calls for a colored, nuanced bow stroke to render blurred harmonies and shifting sonic planes. The piece belongs to the composer's modern period and reflects his interest in blending national elements with the more textural, exploratory language of the 20th century. I am not giving a reference recording here out of caution about the accuracy of specific available recordings.