Igor Stravinsky (1882–1971) reshaped twentieth-century music through radical harmonic thinking, rhythmic complexity, and orchestral innovation. His early ballets for Diaghilev established him as a modernist force, but he remained deeply invested in pedagogy and accessible composition throughout his life. These Three Easy Pieces represent Stravinsky's belief that rigorous musical thinking need not be reserved for advanced players; even simplified works carry his distinctive voice and structural clarity.
Why we love this
Stravinsky's economical approach to melody and harmony makes these pieces genuinely engaging rather than dumbed down. The three-hand texture opens creative possibilities for ensemble work, teacher-student collaboration, or students at slightly different levels playing together. Each piece stands on its own musically, so you can program them individually or as a set without feeling like you're filling time.
What to expect
The March bristles with rhythmic energy and straightforward orchestral thinking adapted for the keyboard. These pieces feel modern without sounding academic; they have the bounce and character of Stravinsky's larger works compressed into an intimate format.
Who it's for
Early intermediate pianists who have moved past five-finger positions and basic hand coordination will find these pieces musically satisfying without technical overwhelm. Teachers seeking repertoire that introduces twentieth-century compositional language in digestible form will appreciate Stravinsky's clarity and logic here.
How to get the most out of it
Clarify the articulation between the two upper voices even when they move in similar rhythm; Stravinsky's voice leading rewards precision over blend.
Let the lower hand anchor the harmonic motion without rushing; the bass defines the character of each piece.
Explore the dynamic markings carefully. Stravinsky uses them structurally, not ornamentally, so observe them as written.
How to use it
Solo performances work well in student recitals or as appetizers before more substantial solo works. The three-hand arrangement also functions as a bridge piece for studio classes where multiple students perform simultaneously, or as a teaching tool to illustrate how orchestral writing translates to the piano.
Skills your students will build
Independence between hands at different dynamic and articulation levels
Reading and executing twentieth-century rhythmic patterns (syncopation and unexpected accents)
Voice leading awareness through the interaction of two upper melodic lines
Harmonic fluency in tertian and quartal pitch structures
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