Repertoire › Suite for Violin and Piano, op. 6: Introduction - › What to play next
What to play after Suite for Violin and Piano, op. 6: Introduction - ?
Benjamin Britten · difficulty 57/100

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
Suite, for violin and piano, op. 11 in D
Karl Goldmark
62/100 +5 pts 6-12 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Reveille, for violin and piano
Benjamin Britten
62/100 +5 pts 6-12 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Coups d'archet composés and Style moderne et contemporain — 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
63/100 +6 pts 6-12 weeks
close skills low risk fair confidence
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Spiccato and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Suite no. 1 for Violin and Piano, op. 11: V. Presto – Allegro vivace
Karl Goldmark
63/100 +6 pts 6-12 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Passages rapides and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Suite in A major, for violin and piano
Alexander von Zemlinsky
61/100 +4 pts 6-12 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Passages rapides and Analyse harmonique — 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
Suite in F for Violin and Piano, op. 93, "Im alten Stil"
Max Reger
68/100 +11 pts 12-24 weeks
partial transfer 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
70/100 +13 pts 12-24 weeks
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 Analyse harmonique — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Suite for Violin and Piano, op. 6
Benjamin Britten
70/100 +13 pts 14-28 weeks
close skills moderate risk fair confidence
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Style baroque and Ornements baroque — 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
Suite no. 1 for Solo Violin
Ernest Bloch
75/100 +18 pts 28-56 weeks
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: Intonation and Ornements baroque — 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
74/100 +17 pts 28-56 weeks
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: Passages rapides and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Suite no. 2 for Solo Violin
Ernest Bloch
73/100 +16 pts 28-56 weeks
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: Intonation and Style baroque — 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 Partita no. 3 in E major, BWV 1006: II. Loure
Johann Sebastian Bach
58/100 same level 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: Intonation and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Suite for Violin and Piano, op. 6: III. Lullaby
Benjamin Britten
55/100 -2 pts 4-6 weeks
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: Voix chantante and Style baroque — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Valse in B major, for violin and piano
Benjamin Britten
60/100 +3 pts 4-7 weeks
new reflexes 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: Rythmes pointés and Détaché — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
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.