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Play — Chopin Waltz L'adieu Opus 69 No. 1 in A flat Major by Tzvi Erez, HQ · TzviErez (the player loads on click)
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Play — Waltzes, Op. 69: No. 1 in A-Flat Major "Farewell Waltz" · Frédéric Chopin, Axel Gillison (the player loads on click)
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Official level, taken from the exam syllabus.
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.
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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.
This waltz feels playful yet slightly wistful, alternating singing phrases with delicate accents that suggest an elegant, nostalgic promenade. Technically, focus on two things: Tempo rubato (3.9/5) requires measured flexibility of the wrist and small rhythmic adjustments — holding a note subtly while the accompanying hand keeps moving — and Phrasing (3.9/5) calls for precise control of connections and musical breathing to shape each phrase without interrupting the line. It belongs to the waltzes of Chopin that were published after his lifetime and occupies the role in his output of salon pieces combining melodic charm and pianistic refinement. I am not giving a reference interpretation because I prefer not to name anyone unless I am completely certain.