The posthumous waltz in e minor tends to be well-regarded (among the posthumous compositions) by scholars, but it has always seemed oddly un-Chopinesque to me. They happen to be the final pieces in the opus numbers comprising sets of three: 34/3, 64/3, 70/3.

Personally, I'm drawn to those few waltzes that seem relatively underexposed. (Bailie doesn't mention the 'Valse mélancolique' in F-sharp minor.) A dance with an imaginary ball, demonstrating rebound and buoyancy in the body. Posthumous without opus number (in order of publication) Original choreography by: Isadora Duncan (c. There are also the two piano concertos, four other works for piano and orchestra, and a small amount of chamber. Here's how Eleanor Bailie classifies the waltzes according to difficulty in Chopin: A Graded Practical Guide (a very worthwhile investment for any aficionado of Chopin's music, and especially valuable to the self-teaching amateur): Miscellaneous compositions (Chopin) The great bulk of Frdric Chopin 's output consists of pieces for solo piano: his ballades, tudes, impromptus, mazurkas, nocturnes, polonaises, preludes, rondos, scherzos, sonatas and waltzes.

While there are mazurkas that are technically simpler, they are, in my opinion, more challenging interpretively. I think the waltzes are probably Chopin's least demanding category of pieces overall.

Waltz in g flat major chopin