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[Piano Pieces] Easy for Children to Play! A Roundup of Simple Classical Works

One of the reasons children who have just started piano lessons lose interest is that they begin to feel, “Piano is hard…” If reading music is difficult and practice doesn’t progress, or if their fingers don’t move the way they want and they can’t get a passing mark from the teacher, they tend to develop negative feelings toward the piano they started with such excitement.

In this article, we’ll introduce easy classical pieces that are approachable even for children.

There are always individual differences in how difficult something feels and how quickly one progresses, but please pick pieces that suit your child so they can feel, “Piano is fun!”

[Piano Pieces] Easy Even for Kids! A Roundup of Simple Classical Works (21–30)

Carnaval, Op. 9 No. 12 – ChopinRobert Schumann

Written in A-flat major, this work is a musical portrait that Schumann dedicated to Chopin.

Composed between 1834 and 1835, it expresses Schumann’s deep respect and affection for him.

Characterized by delicate, poetic melodies, it is an enchanting piece that evokes Chopin’s signature, graceful piano sonority.

It is relatively approachable for beginner pianists and ideal for those who wish to learn Chopin’s musical traits.

Just as Robert Schumann introduced his contemporaries through the Neue Zeitschrift für Musik, this piece can be seen as a musical dialogue that conveys Chopin’s allure.

Despite its relaxed tempo, it offers richly expressive interpretation.

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

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.

[Piano Pieces] Easy for Kids to Play! A Roundup of Simple Classical Works (31–40)

Burgmüller 25 Etudes, Op. 100 No. 25 “La chevaleresque” (The Lady’s Ride)Johann Burgmüller

Award Commemorative Concert — Kato Koki, 6 years old — La cavalerie (The Lady’s Riding)
Burgmüller 25 Etudes, Op. 100 No. 25 “La chevaleresque” (The Lady’s Ride)Johann Burgmüller

A dazzling and valiant piece that concludes the 1851-published album 25 Etudes, Op.

100.

The original title of this work means “chivalry,” and true to its name, it lets you feel like the dignified yet elegant hero of a story.

The staccato passages, like a horse stepping lightly, and the scales driving toward the climax make your heart dance just by listening.

In performance, the key is whether you can express the shifting scenes through dynamics and varied touch.

It’s a piece that invites you to imagine a narrative and enjoy discovering your own unique interpretation.

The Blue DanubeJohann Strauss II

The Blue Danube – Piano Solo / Johann Strauss II (J. Strauss II)
The Blue DanubeJohann Strauss II

Composed by Johann Strauss II at the request of the Vienna Men’s Choral Association, this piece was created in 1866.

Although it did not receive much acclaim at its premiere, it gained success at the 1867 Paris Exposition and subsequently became widely loved in Vienna.

The work expresses the beauty of the Danube River and pride in the homeland, and many sheet music editions arranged for beginner pianists are available.

Characterized by its elegant melody and lively rhythm, it invites listeners to imagine Vienna’s charming scenery through performance.

It is a recommended piece for children who want to enjoy learning the piano and for anyone interested in classical music.

Children’s Corner No. 1: “Doctor Gradus ad Parnassum”Claude Debussy

36th Prizewinners’ Commemorative Concert / Hikari Matsushita Debussy: Doctor Gradus ad Parnassum
Children’s Corner No. 1: “Doctor Gradus ad Parnassum”Claude Debussy

The first piece of Claude Debussy’s suite Children’s Corner, “Doctor Gradus ad Parnassum,” was composed with the aim of letting adults indulge in a childlike mood.

It is said to depict his beloved daughter Emma as she tackles her piano exercises.

Her earnest practice mirrors the experience of children who take on new pieces, doesn’t it? Parents will surely feel a great sense of growth when they see their child perform this piece splendidly.

You might even suggest to your child, “There’s a really cool piece—want to give it a try?”

French Suite No. 2, BWV 813 – Minuet IIJ.S.Bach

J.S. Bach: French Suite No. 2 in C Minor, BWV 813: VI. Menuet II (BWV 813a)
French Suite No. 2, BWV 813 – Minuet IIJ.S.Bach

This is an elegant dance from the French Suites, brimming with the beauty of Baroque music.

Composed around 1722, it masterfully fuses the solemnity of the key of C minor with the dignified rhythm characteristic of the minuet, allowing you to fully savor the polyphonic world Bach constructed.

Because the technical difficulty is relatively modest, it serves as an ideal piece for those wishing to venture into Baroque repertoire or learn the expressive use of ornamentation.

The work is structured in ABA form and reveals a wide range of character depending on the performer’s interpretation and phrasing choices.

You can also enjoy exploring tonal colors when playing the original harpsichord piece on the piano.

French Suite No. 3, BWV 814, MinuetJ.S.Bach

Bach: French Suite No. 3, Minuet (BWV 814) (Piano Sheet Music)
French Suite No. 3, BWV 814, MinuetJ.S.Bach

Brimming with the charm of an elegant and refined dance, this piece is cherished as part of a suite composed between 1722 and 1725.

Structured in ternary form, it exquisitely contrasts flowing, beautiful melodies with introspective, delicate expression, allowing performers to showcase a wide range of musicality.

While it requires an understanding of Baroque ornamentation and articulation, its technical demands are relatively modest, making it ideal for those who wish to focus on musical expression and sensitivity.

It is also widely featured in educational settings and is used as an important repertoire to cultivate both performance technique and musicality.