Classic Piano Repertoire for Intermediate Level Pianists

This is the second part of a three-post series delving into suitable repertoire intended to really develop piano playing at whatever your current level.

Whether your practice is structured so that you are able to tackle the following repertoire altogether, or you decide to focus on each piece separately, one after another, the building blocks found in these suggested works will serve as useful preparation for more advanced pieces. Here are a few ideas for intermediate level players: approximately Grade 4 – 7 of the  ABRSM/Trinity College London/LCM examination boards.

Tip 1 

For those of around Grade 4-6 level, one of the most beneficial repertoire strategies is to learn a Two-Part Invention by J S Bach (BWV 772–786). Start with number 1 in C major as it’s fairly simplistic. Why is this a good idea? Because this collection provides the building blocks for counterpoint or developing the contrapuntal style. Counterpoint combines two or more independent melodic lines at once, in this case, one in the right hand and the other in the left. Playing this music will encourage hand and finger independence and will get the brain working, prepping it for more complex textures. After number 1, try number 8 in F major as it’s such fun to play and good for coordination too. For more advanced students, the beautiful Three-Part Inventions, or Sinfonias (BWV 787–801) as they are also known (three parts, or musical lines, as opposed to two), are ideal for late intermediate players: try No. 10 in E major and No. 14 in B flat major.

Tip 2

Learning studies, exercises or études can be highly beneficial for the developing pianist. Whether the piano writing includes fast passagework or demands a captivating slow cantabile, there is always something to learn. Start with the 25 Progressive Pieces, Op. 100 by Johann Friedrich Franz Burgmüller. This group ranges from Grade 2 – Grade 5 in difficulty. If you’re Grade 4 – 5 level, check-out the following: La Chasse (No. 9), Ballade (No. 15), La Tarantelle (No. 20) and Barcarolle (No. 21). For a more instructive but less programmatic series, studies by Stephen Heller fit the bill. The Hungarian composer wrote numerous sets of exercises but Op. 45 or Op. 46 suit the intermediate player. My students start with numbers 1 - 5 from the 30 Études mélodiques et progressives, Op. 46. Dramatic, Romantic in style, tuneful, and they are fun to play. Another favourite collection, already mentioned in Part 1 of this 5-Tips series, is the Graded Pianoforte Studies published by the ABRSM, containing a selection of great little pieces to develop technical grasp. For the more adventurous, explore the little etudes by French composers Louise Ferenc (1804 – 1875) or Hélène de Montgeroult (1764-1836): they both wrote their studies specifically for their students in Paris.

Tip 3

A small classical style sonata provides a good introduction to those by Mozart and Haydn. Sonatinas by Italian born Muzio Clementi, Danish composer Friedrich Kuhlau or Czech composer Jan Ladislav Dussek all provide good learning material. I’d begin with Clementi’s Sonatinas Op. 36 Nos. 1, 2 or 3, and learn all the movements within each piece, or try Kuhlau’s Sonatina Op. 20 No. 1 in C major. Demanding clean lines and elegant phrasing, these are excellent vehicles to begin the classical sonata journey.

Tip 4

Alongside this ‘instructional’ selection above, we should ideally choose a cantabile, Romantic-style piece to develop a legato touch, tone production, dynamic colour and pedalling. The following are worthy of your attention: Edward McDowell’s To A Wild Rose, Edvard Grieg's Arietta, Op. 12 No. 1, Pyotr Ilyich Tchaikovsky’s Sweet Dreams Op 39 No. 21, Felix Mendelssohn’s Songs Without Words Op. 30 No. 3, and Frédéric Chopin’s Prelude in B minor Op. 28 No. 6 or, for a bit of fun (although not strictly ‘cantabile’) try Anton Arensky’s Le Coucou Op.34 No.2.

Tip 5

The scope is vast for Twentieth/Twenty-first century educational piano music and my students learn music from this historical period mostly for exams as we are generally fully occupied with all of the above! For impressionist colour try Claude Debussy’s Le petit nègre, Erik Satie’s Gnossienne No.1, Gabriel Grovlez’s Le Pastour, No. 5 from 'L'Almanach aux images', Carol Klose’s Watercolour Miniatures or Jennifer Linn’s Les Petites Impressions. Those who prefer jazz styles might explore Martha Mier’s ever popular Jazz, Rags and Blues series, William Gillock’s New Orleans Jazz Styles, or Christopher Norton’s Connections series. Minimalists will love Philip Glass’ Metamorphosis Number 1 and 2 (my favourite), Max Richter’s Written On The Sky, Yiruma’s River Flows in You, Elena Kats-Chernin’s Twelve One Page Piano Pieces, Pamela Wedgwood’s Piano Meditations, or my collection of 12 minimalist style works No Words Necessary. Other popular contemporary choices to explore: My Forest Notebook by Angeline Bell and The Little Virtuoso by Jakub Metelka.

Whatever you chose to play, aim for as many varied styles as possible offering a good smattering of genres boding well for future development.

Photo © Sarah Barnes

For a comprehensive anthology written with the adult returner in mind, check out my complete Play it again: PIANO series (Schott): four substantial books taking students from late beginner to diploma level via a large selection of repertoire and plenty technical help and practice ideas. Find out more here.

Purchase No Words Necessary (Schott) for students of Grade 3 – 7 level.