Real Repertoire Begins
Grade 3 — Musical Depth
Grade 3 is where the music starts to feel like proper repertoire. The pieces are longer, harmonically richer, and require sustained concentration across more pages. The left hand is no longer just keeping time — it has its own musical contribution, whether that's an Alberti bass pattern, a countermelody, or a running accompaniment. Voicing — keeping the melody above the accompaniment — must now be maintained throughout whole pieces, not just in practice bars. The stylistic gap between Baroque and Romantic pieces also widens: they should sound completely different.
Pieces in this plan
A stately Baroque dance in two distinct sections — the second in the relative minor. Your first encounter with a piece that moves through two different keys.
A graceful salon piece by Mel Bonis, one of the few women composers represented in the Grade 3 repertoire. Warm, expressive, and surprisingly rich harmonically.
One of the most beautiful pieces in Tchaikovsky's teaching album. It has a warm Mediterranean singing quality and genuine emotional depth.
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Louise Farrenc wrote études that are both technically useful and genuinely musical. This one demands sustained voicing and musical direction across its full length — a benchmark piece for this plan.
If you came through Grades 1–2, you may have encountered this already. At Grade 3, the expectation is higher: even tone in the runs, clear phrase shaping, and a convincing dynamic range. If it's new to you, this is an excellent introduction to Burgmüller's style.
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