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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 — Waltz in A-Flat Major, Op. 42 · Frédéric Chopin, Sergei Rachmaninoff (the player loads on click)
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Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
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 A-flat major waltz has a light, singing character, alternating buoyant, skipping figures with more pensive measures that call for an inner sense of dance rather than exaggerated rubato. Technically, watch the Phrasing (2.5/5): here it means keeping clear melodic lines in the hands while allowing the right hand to stay relaxed to connect small figures, and the Half-pedal (2.5/5) to articulate arpeggios cleanly without clouding the accompaniment; these require controlled release and precise heel placement on the pedal. In Chopin’s catalogue it belongs to his posthumous waltzes frequently programmed in recitals and shows his engagement with salon dance forms. I do not give a reference interpretation because I am not 100% certain of a specific recording to recommend for this piece.