Composed in 1839 and published the following year, 1840. Since it was composed for Moscheles and Fétis's compilation "Méthode des méthodes," it bears no opus number and is not dedicated.

No. 1 in F minor

The first piece, in F minor, is in Andantino, 2/2 time. The right hand plays quarter-note triplets, and the left hand plays eighth notes, consistently maintaining different rhythms between the hands. This characteristic is also found in the Etude Op. 25 No. 2, also in F minor. The melody in the right hand is rich in chromaticism. In contrast, the left hand plays arpeggiated chords spanning more than an octave in each measure.

No. 2 in A-flat major

The second piece, in A-flat major, is in Allegretto, 2/4 time. Continuing from the previous piece, both hands consistently play different rhythms. Here, the right hand plays eighth-note triplets, and the left hand plays eighth notes. The melody is carried by the top voice of the right-hand triads. These triads are marked with slurs that are physically impossible to execute. Therefore, it requires careful consideration of the balance and touch between the top and inner voices. The intervals between adjacent notes in the left hand often exceed an octave.

No. 3 in D-flat major

The third piece, in D-flat major, is in Allegretto, 3/4 time. It requires differentiating between the melody carried by the right hand's top voice and the inner voices played with staccato eighth notes. From measure 61, the left hand employs a sustained note technique with appoggiaturas. Along with the staccato in the right hand's inner voices, this suggests Chopin intended this work to have a light touch.

Thus, although ostensibly written for educational purposes more than the Etudes Op. 10 and Op. 25, this work, like the so-called "Concert Etudes" of Op. 10 and Op. 25, possesses musically rich content beyond mere finger exercises.