Graded Repertoire & Piano Levels Explained

The concept of “graded repertoire” refers to the idea of assigning numerical ratings to individual pieces of piano repertoire. This allows for the repertoire to be sorted into a series of grades. These grades can also be referred to as "piano levels".

There are many different grading systems for piano repertoire. Some teachers even choose to grade repertoire themselves. Because of this, a particular level number doesn't mean the same thing across every grading system. For example, a Level 3 student using one particular system might be a Level 4 in a different system. As far as I am aware, there is no universal grading system. However, there are many comparison charts available.

The concept of graded repertoire and piano levels are somewhat related to one another in that repertoire has to be graded in order for it to be associated with a particular level. However, the idea of piano levels can be developed further by incorporating other exercises, etudes, and music theory concepts on a per level basis. This can sometimes be referred to as a curriculum or system of education.

Examination Boards

There are some institutions such as ABRSM and RCM that go so far as to have full examinations for each level along with the awarding of certificates and diplomas. These institutions use their own grading systems and regularly publish new collections of repertoire every year or so. Their curriculums include key-based exercises, theory, and aural skills in addition to graded repertoire.

While these institutions are wonderful and very comprehensive, they are not necessary for a solid classical piano education. In fact, in the United States, many are unaware that these institutions even exist. Yet, you can still get a great education, depending on who you study with.

With that said, if you are looking for a very comprehensive experience complete with examinations, the above options (as well as a few others) would likely fit very well. You would just need to get in contact with a teacher who specializes in one of these forms of education.

The Case for Graded Repertoire

In my opinion, given that I am a piano instructor who does not participate in ABRSM or RCM, I still believe that graded repertoire can be very helpful in timing the introduction of certain pieces to students.

For example, if a student is still learning one octave scales and working on the easier pieces from the Anna Magdalena Bach Notebook, it might not the best time to start Fur Elise or a Bach invention.

Before I settled on a particular repertoire series, I was using resources like Burgmüller Op. 100, First Lessons in Bach, Clementi sonatinas, and various assorted preludes, inventions, etudes, and other types of pieces. It’s quite a bit to keep track of because there is just so much music out there.

Additionally, collections like the Burgmüller Op. 100 or First Lessons in Bach range in difficulty quite a bit. This means that students who are at the appropriate level to start one of these collections will likely not be able to play through the more challenging pieces. They will have to come back later on, which can be somewhat frustrating.

This is where the use of a graded repertoire series can really be of great assistance. Ideally, a repertoire series should source music from the above mentioned collections and divide up the repertoire into levels or grades so that students encounter pieces at the optimum time in their study. Thankfully, there are many wonderful collections of repertoire that fulfill this role.

Masterwork Classics

One collection that I have had great success with is called Masterwork Classics by Dr. Jane Magrath. This collection is divided across 10 levels, although the first two levels are combined into a single volume. Each volume includes music from four stylistic and historical periods. The difficulty ranges from the beginner level up to the early advanced level.

I particularly appreciate this collection because it sources music from other collections that I was previously familiar with, and includes a wealth of interesting material that I had never encountered before, especially at the higher levels. I also assign additional pieces that are outside the scope of this selection, depending on the student and their interests.

I have written specifically about my use of the Masterwork Classics series in a separate blog post, which you can check out if you are interested. Additionally, you can sample some of the music from each level using my free Piano Repertoire Placement Guide.

What Makes a Piece More Difficult?

From my observations, the following factors are considered when determining the grade of a piece of piano repertoire:

• Length

• Key difficulty

• Tempo

• Rhythmic, musical, and technical challenges

For example, a low level piece would usually be short, on the slower side of the tempo spectrum, and written in a key with a simple key signature. In contrast, a more difficult piece might be faster, more rhythmically complicated, longer, and in a more challenging key.

Using the Masterwork Classics system, the easier pieces from the Anna Magdalena Bach Notebook come in around Level 3 and 4, while Fur Elise makes its appearance in Level 7. Considering how much more difficult and lengthy Fur Elise is compared to one of these other pieces, this level discrepancy makes sense to me.

While most students who are playing out of the Level 5 or 6 book can confidently handle Fur Elise, a student playing out of the Level 7 book will have a much easier time pulling it off convincingly. Note that in Masterworks Level 7, students will also be introduced to their first Bach invention and Chopin waltz. As it turns out, Fur Elise ends up being one of the easier pieces from this level.

Of course, other graded repertoire systems might introduce these pieces at totally different times compared to the Masterworks books. In the end, it doesn’t matter so much as to exactly what level a piece is using in any particular system. What matters is that the system helps students to develop musical and technical maturity over time.

Creating a Piano Curriculum

In the beginning of this post, I mentioned that the idea of piano levels can be expanded past repertoire to include other types of material. Instead of participating in one of the above mentioned examination systems, I have chosen to create my own classical piano curriculum, complete with a series of piano levels. I did this by first choosing repertoire and then worked to associate various concepts, skills, and supporting exercises (such as scales and arpeggios) with each level of repertoire.

While this is something that any teacher can do, few teachers seem to be doing it. Admittedly, creating a curriculum can be quite a time consuming ordeal. However, this decision has afforded me a great deal of flexibility and consistency with my students.

It’s also worth mentioning that the use of a curriculum in general has enabled me to create a system of tutorial content for the piano. This has completely changed the way I make my living as a piano teacher and has also greatly expanded the number of students I can work with. By the way, if you are a student who is interested in my program, you can learn more here.

I hope you have found my insights about the use of graded piano repertoire helpful. If you have any thoughts or questions, feel free to leave them below. Thanks for reading!