With level 1 indicating a much less difficult level and level 6 indicating a more difficult level, the grading for lists can be done with respect to meter, key signatures and more as stated earlier (Young, 1998). The meter of 2/4 to 4/4 is considered as easy, and a constant meter with no changes in meter is of a higher grade and hence is more difficult. The 9/8, easy changing meters and more are included somewhere in between the difficulty levels. In terms of signatures it is observed that zero to three flats would be of lesser difficult compare to the any key situation as used in the context of accidentals (Murphy, 2013). Tempo between 72-120 is less difficult and tempo in aleatoric is highly difficult. In the case of the note values, usually a whole length note is less difficult. On the other hand, complex duple and compound values are usually considered to be more difficult. Rhythm is seen to be anywhere from individual rhythms to mostly unisons. Articulation, the timbre changes and the form of phrasings used are some more considerations at this point (Rice, 2016).
The repertoire list that would be included based on assessments as identified in the above sections are as follows,
(1) “Flowers Lullaby” composed by Sigurd Rascher will be included in the much easier renditions. These are usually taught to young students who are still in their beginning stage of learning. Usually complete with simple repetitive phrases, this can be included in the list.
(2) For the intermediate level of difficulty, the “Chanson et Passepied” by Jeanie Rueff could be included. This is technically beginner to intermediate only, and there are no specific movements or sections that are independent. Chanson composition is thorough and is done with eight note rhythms. They carry over some of the ties. The Passepied on the other hand is in a ABA form, marked at 60 dot quarter.
(3) The Sonata of Wolfgang Jacobi would be part of the repertoire list. Jacobi, a composer and a teacher, was not able to compose during the time of the Nazi regime and was seen to return to his compositions only after he started teaching in the conservatory in Munich (Williams, 2011). His compositions are a combination of chamber music, orchestral works, concerts etc. In terms of performance considerations, the Sonata would be of duration 10:35 and in difficulty level would vary across the elements. The meter would be a 3 so it is somewhat leaning towards the less difficult end. The tempo would be 3 and in terms of rhythm, it is graded 5 and it leans towards more difficult context. Articulation and range are less difficult. Now most of these movements are not that complex, however, there are some passages observed in the piano aspects that could tend to make the ensemble precision part slightly difficult. Rhythm can be an issue observed, expectably for those players who would still be in the second movement.
Preparing the repertoire list is a must for a future career. Now in terms of adding to a future career skill set, it could be said that the way the dynamic contrasts are constructed makes the above presented composition an excellent part of the repertoire. Thus, in conclusion, as observed from different research literature on the subject, the construction of the repertoire is a very significant move in pursuing a career in music. The repertoire list presented is just a sample and the literature review has discussed how to make the repertoire list.