[Classical] A collection of piano pieces with cool arpeggios
Are you familiar with the musical term arpeggio?
It refers to playing the individual notes that make up a chord—what we commonly call a chord or code—one by one, and if you play guitar, it’s a familiar term.
On piano, arpeggios are basically the same and are a technique you can use for accompaniment in singing and playing, but they’re also something you can’t avoid when performing classical piano pieces.
In this article, we introduce a selection of classical piano works that use arpeggios strikingly—whether in the right hand’s main melody or the left hand’s accompaniment.
Focusing primarily on solo piano pieces, but also including piano concertos, we invite you to savor the intense, cool, and beautiful appeal of arpeggios!
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[Classical] A Collection of Piano Pieces with Awesome Arpeggios (21–30)
Scherzo Focoso, Op. 34Charles Valentin Alkan
A dazzling piano piece where supreme virtuosity and passion merge, captivating audiences from start to finish.
A fervent, flame-like energy inhabits every tone drawn from the fingertips, irresistibly gripping the listener’s heart.
Composed by Charles-Valentin Alkan in 1847, this work demands both advanced technique and profound expressiveness—truly worthy of center stage at any recital.
Marked by energetic, vibrant expression, it fills the hall with an overwhelming presence.
It’s recommended for those who wish to enthrall their audience while making full use of their pianistic abilities.
Performers who combine rich musicality with exceptional technique are sure to deliver a magnificent rendition.
“Arpeggio,” No. 4 from the Grandes études de PaganiniFranz Liszt
This is a grand set of variations that arranges Paganini’s violin work for piano.
First published in 1838, it underwent revisions to reach its current form.
In the eleven variations that follow the theme, piano-specific techniques such as tremolos, octaves, and arpeggios are lavishly employed.
Composed by Franz Liszt after being impressed by Paganini’s performances, with the aim of achieving violin-like expression on the piano, the piece combines dazzling brilliance that captivates audiences with profound musicality.
The beauty of its textures and development fully brings out the piano’s allure, making it a popular work in concerts and piano competitions.
It is recommended for performers with solid technique and expressive ability, and is a piece that will make a strong impression at recitals.
Kreisleriana, Op. 16 No. 7Robert Schumann
This piece is marked by its intensely passionate and dramatic expression.
Its rapid tempo combined with the key of C minor grips the listener from the start.
Though it lasts only about two minutes and thirty seconds, it distills Robert Schumann’s inner turmoil and passion.
The repeated arpeggios with fierce accents heighten the tension, and the contrast with the fugal middle section is striking.
Composed in 1838, it dates from a period when Schumann was suffering under opposition to his marriage to Clara Wieck.
It fully showcases the Romantic era’s hallmark richness of emotional expression, and it is a work that tests both pianistic technique and interpretive depth.
A masterpiece recommended for anyone seeking the profound emotional impact of classical music.
12 Etudes, Op. 8 No. 12 in D-sharp minorAleksandr Skryabin
Alexander Scriabin’s Twelve Etudes, Op.
8, are said to have been conceived with Frédéric Chopin’s Twelve Etudes in mind.
The final piece, No.
12 in D-sharp minor, is so passionate and dramatic that it hardly feels like an etude.
Over the fiercely resounding left-hand arpeggios, the right hand carries the melody in octaves, racing ahead with unrelenting momentum to the very end.
At its widest, the left-hand arpeggio spans a remarkable four octaves.
As you listen, be sure to watch the pianist’s fingers darting across the keyboard with astonishing freedom!
Two Arabesques No. 1 in E majorClaude Debussy
A graceful piece in which a gentle triplet melody is elegantly voiced, with striking chords weaving a beautiful sonority within a flowing, relaxed pace.
The polyrhythms between the right and left hands create a sense of vitality, and the middle section is enveloped in a dreamlike atmosphere.
Composed in 1888, this work achieves a splendid balance between light rhythms and lyricism, making it an ideal choice for those aiming to improve their performance technique.
The natural flow indicated by the tempo marking Andantino con moto is sure to captivate audiences at recitals.
Although it features somewhat complex chord progressions and independent motion in both hands, its difficulty level can be mastered with careful practice.
Consider adding it to your repertoire.