A must-see for piano beginners! Carefully selected classic pieces you should play at least once

French Suite No. 6, BWV 817 – GavotteJ.S.Bach

Bach French Suite No.6 “Gavotte” P. Barton, FEURICH 218 piano

Among the suites composed during the Baroque era, this piece is notable for its clear duple meter and approachable melody.

Written around 1722 to 1725 for educational purposes, it beautifully fuses French elegance with German structural rigor.

As a valuable work that conveys the atmosphere of courtly dance to the present day, it demands both expressiveness and technique from the performer, yet it remains accessible thanks to the relative scarcity of difficult phrases or virtuosic passages.

It is recommended for those who have only recently started playing the piano or who wish to try Baroque music, and by practicing with an emphasis on tone and expression, one can perform while sensing the ambiance of the court of that time.

Six Écossaises No. 1Ludwig van Beethoven

Beethoven, 6 Ecossaises for Piano, No 1, WoO 83

This is a Scottish-style dance characterized by a lively 2/4 rhythm.

Composed in 1806 for solo piano, it has a bright and approachable character, packing Beethoven’s signature humor and playfulness into a short piece.

Although the overall performance time is a modest two and a half minutes, its energetic melody—suited to a style where a man and woman face each other to dance—is especially appealing.

Written for performance in salons and homes, it’s ideal for piano students.

There are also arrangements by renowned musicians such as Ferruccio Busoni and Carl Reinecke, allowing it to be enjoyed with various instrumental ensembles.

Barcarolle No. 12 in E-flat major, Op. 105-2Gabriel Fauré

Gabriel Fauré – Barcarolle No. 12, Op. 106bis

Composed in 1921, this piano piece features a flowing 6/8 rhythm and the warm sonority of E-flat major.

It evokes a gentle lyricism and profound spirituality.

Its graceful melodic lines are interwoven with the refined harmonies characteristic of French music, leaving a pleasant resonance.

While one can enjoy the subtlety of the harmonic progressions and modulations, the piece remains playable with fundamental technique.

It is recommended for those who wish to engage deeply with music in a quiet setting or savor the delicate expressions of French musical style.

It is sometimes selected for music university examinations and competitions, making it valuable from an educational standpoint as well.

Le Tombeau de Couperin, No. 2: FugueMaurice Ravel

Collard plays Ravel ‘Le Tombeau de Couperin’ – 2. Fugue

Maurice Ravel’s suite Le Tombeau de Couperin was imbued with a sense of remembrance for friends who perished in World War I.

This work, which is the second movement of the suite, was premiered in April 1919 and dedicated to Lieutenant Jean Cruppi.

It is the only fugue Ravel ever composed, with three voices quietly overlapping as if in dialogue.

It seems to speak not only of sorrow, but also of gentle memories of friends now gone.

Within its classical formal beauty, Ravel’s characteristic shimmering sonorities melt together, enveloping the piece in a mysterious sense of weightlessness.

The entire suite was also staged as a ballet.

The key is to let each voice sing its melody with care while maintaining an overall transparency.

It’s a captivating piece through which one can learn both Baroque style and the delicate expression of Impressionism at the same time.

Grotesque SerenadeMaurice Ravel

Ravel – Sérénade grotesque, Sheet Music + Audio

Composed around 1893 when Maurice Ravel was about 18, this is a highly distinctive and passionate work.

According to an anecdote, Ravel later added the word “grotesque” to its title; as the name suggests, its rough, provocative sonorities are interwoven with startlingly sweet melodies.

The piece’s appeal lies in its vivid contrast with the emotional central section, making it feel like listening to an awkward yet single-minded declaration of love.

It’s perfect for those who want to experience a bold, youthfully daring side of Ravel that differs from his refined image.

For performers, a key point is to draw a dramatic distinction between the fierce and the sweet elements.

Suite ‘Miroirs’ No. 2 – Sad BirdsMaurice Ravel

Collard plays Ravel ‘Miroirs’ – 2. Oiseaux Tristes – Très lent

The five-piece suite Miroirs, dedicated to pianist Ricardo Viñes—a fellow artist—includes this work as its second piece, first performed by Viñes in January 1906.

Maurice Ravel based it on the scene of “birds lost in a dark forest on a hot summer day,” drawing listeners into a fantastical world where plaintive birdsong resonates through the silence.

This piece is perfect for those who want to explore a wide palette of timbres with a delicate touch.

It also offers valuable practice in richly evoking imagery by artfully controlling resonance with the pedal, so take your time engaging with Ravel’s painterly music.

Invention No. 2 in C minor, BWV 773J.S.Bach

Bach / Invention No. 2 in C minor (J.S. Bach: Two-Part Invention No. 2 in C minor, BWV 773)

Known as Invention No.

2, this work in C minor is a compelling piece that distills the contrapuntal techniques of the Baroque era.

As part of an educational collection compiled in 1723, it features a canon-like dialogue in which the right and left hands enter two measures apart.

Despite its brevity, it includes voice exchanges and modulations, requiring the performer to maintain independence and balance between the parts.

The introspective, austere atmosphere created by the key of C minor is striking, lending the piece an artistry that goes beyond a mere study.

It is recommended for those who wish to explore the beauty of counterpoint and the depth of Baroque music.

Offering both technical challenges and opportunities for musical expression, it is a valuable addition to a learner’s repertoire.