Repertoire › A la valse, for violin and piano › What to play next
What to play after A la valse, for violin and piano ?
Victor Herbert · difficulty 50/100

Choose your level of commitment: consolidate, move up a tier or prepare a challenge. The top-ranked cards combine difficulty, risk, shared skills and confidence.

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Gentle step

The safest next step.

Gentle
Romanza for Violin and Piano, H.115
Enrique Granados
55/100 +5 pts 5-10 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Vibrato and Legato d'archet — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Gentle
2 Waltzes, S.208a, for violin and piano
Franz Liszt
56/100 +6 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Vibrato — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Gentle
Giga, for violin and piano, P.15b
Ottorino Respighi
53/100 +3 pts 5-10 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Style baroque and Passages rapides — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Pièce en forme de Habanera, for violin and piano
Maurice Ravel
57/100 +7 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Spiccato and Rythme d'archet complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced step

A genuine step up, without a jolt.

Balanced
Tarantella, for violin and piano
George Enescu
60/100 +10 pts 12-24 weeks
partial transfer moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Vibrato and Staccato — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Balanced
Rondo brillant for Violin and Piano, op. 126
Johann Nepomuk Hummel
62/100 +12 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Passages rapides — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Mazurka-Oberek, for violin and piano in D
Alexander Glazunov
60/100 +10 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Rythme d'archet complexe and Détaché — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Balanced
Valse in B major, for violin and piano
Benjamin Britten
60/100 +10 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Style moderne et contemporain and Coups d'archet composés — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Ambitious challenge

A useful leap with guided practice.

Challenge
Valse-scherzo, for violin and orchestra in C major, op. 34
Pyotr Ilyich Tchaikovsky
67/100 +17 pts 24-48 weeks
partial transfer high risk to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Staccato — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Violin Sonata no. 3 in C minor, op. 45
Edvard Grieg
67/100 +17 pts 24-48 weeks
partial transfer high risk to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
Polonaise in B flat major for Violin and Orchestra, D.580
Franz Schubert
70/100 +20 pts 28-56 weeks
partial transfer high risk to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Passages rapides and Rythmes pointés — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level

To widen the repertoire without raising the level.

Same level
Violin Sonata no. 1 in F major, op. 8
Edvard Grieg
51/100 +1 pts 4-6 weeks
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: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Mazurka in C major, for solo violin, JS deest
Jean Sibelius
52/100 +2 pts 4-6 weeks
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 Rythme d'archet complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Violin Sonata in G minor, D.408, op. posth.137, no. 3
Franz Schubert
47/100 -3 pts 3-4 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Analyse harmonique and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Progressions computed from difficulty, skill overlap and style between works. A What do we play next? recommendation should remain a pedagogical starting point, not an automatic prescription.