Repertoire › Mazurka in C major, for solo violin, JS deest › What to play next
What to play after Mazurka in C major, for solo violin, JS deest ?
Jean Sibelius · difficulty 52/100

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
Pièce en forme de Habanera, for violin and piano
Maurice Ravel
57/100 +5 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 Rythmes pointés — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
2 Waltzes, S.208a, for violin and piano
Franz Liszt
56/100 +4 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
2 Pieces for Violin and Piano, op. 2
Jean Sibelius
58/100 +6 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The demand here is musical rather than mechanical: Nuances — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
5 Pieces for Violin and Piano, op. 81
Jean Sibelius
58/100 +6 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The demand here is musical rather than mechanical: Nuances — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Légende, for violin and piano
George Enescu
55/100 +3 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: Voix chantante and Vibrato — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Balanced step

A genuine step up, without a jolt.

Balanced
Moderato-Maestoso in E flat major, for violin and piano, JS 132
Jean Sibelius
64/100 +12 pts 12-24 weeks
partial transfer moderate risk to confirm
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Changements de position — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Tarantella, for violin and piano
George Enescu
60/100 +8 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
Impromptu in G minor, for solo violin, JS deest
Jean Sibelius
60/100 +8 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: 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 +8 pts 12-24 weeks
partial transfer moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Rythmes pointés and Détaché — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Ambitious challenge

A useful leap with guided practice.

Challenge
Polonaise in B flat major for Violin and Orchestra, D.580
Franz Schubert
70/100 +18 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.
Challenge
Violin Sonata in F major, JS 178
Jean Sibelius
68/100 +16 pts 24-48 weeks
new reflexes 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: Vibrato and Legato d'archet — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Challenge
Violin Sonata in A minor
Jean Sibelius
68/100 +16 pts 24-48 weeks
new reflexes 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: Vibrato and Legato d'archet — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
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: Legato d'archet and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
A la valse, for violin and piano
Victor Herbert
50/100 -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: Legato d'archet and Rythmes pointés — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
2 Earnest Melodies, for violin and orchestra, op. 77
Jean Sibelius
55/100 +3 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: Caractère et style — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
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.