These recordings are found automatically, and the machine still gets it wrong. One click from you — yes or no — fixes the catalogue for every musician who opens this page after you. Across our 10,000 works, your answer is our only real quality check.
An arrangement or transcription is fine: if you recognise the work, answer yes. Answer no if it is a different work, a different composer, or if the recording does not play.
-
Play — Pollini plays Chopin Etude Op.10 No.6 · newFranzFerencLiszt (the player loads on click)
Is this the right work? -
Play — 12 Etudes, Op. 10: Frédéric CHOPIN : Etude op.10 n° 3 « Tristesse » · Frédéric Chopin, Tamás Vásáry (the player loads on click)
Is this the right work?
No account is required and no personal data is collected.
The grade scale stops at 8; this work belongs to concert or diploma repertoire.
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.
Does this rating look right to you?
This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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.
No suggestion yet.
This étude feels intimate and plaintive, focused on a singing melodic line supported by a restrained accompaniment that calls for contained expressivity rather than virtuosic display. Technically you will face, for example, "Technique générale (2.5/5)": here it means executing long phrases with secure fingers and precise weight transfers to keep legato across occasional wide stretches; and "Control of touch (2.5/5)" requires shaping tone so the principal voice is projected while the accompaniment remains subdued, through subtle use of pressure and release. The piece belongs to Chopin's first published set of études (Op. 10) and stands as a lyrical, reflective contribution within that collection, combining technical training with poetic expression. I do not provide a recording reference because I am not fully certain of a single, universally acknowledged interpretation for this specific étude.