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Play — Eric Lu – Etude in F major Op. 10 No. 8 (first stage) · Chopin Institute (the player loads on click)
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Play — Chopin: 12 Études, Op. 10: No. 8 in F Major · Frédéric Chopin, Nikolai Lugansky (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.
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A useful leap with guided practice.
This etude projects a bright, driving restlessness — a constant energetic conversation between the hands rather than an open lyrical song. You will notably face Hand Independence (4.4/5), which here requires bringing out a clear melodic line in one hand while the other sustains a contrapuntal accompaniment, calling for precise voicing control and differential weighting and release of the fingers; Rapid Passages (4.0/5) also demand relaxed fingers, consistent fingering and a subtle forearm motion to secure evenness and clarity in the fast figures. The piece belongs to Chopin's Études Op.10, a key set for pianistic and musical development. I do not provide a reference recording here because I prefer not to name performers unless I can do so with complete certainty.