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I teach a rather advanced girl and have to practice (relearn even) the pieces i teach her. I almost know this piece Schumann's Arabesque, 'by heart'. (isn't that a precious bit of language?)

what a gorgeous piece. I need a comparable piece for her to work on eventually. maybe more Schumann.

Answered over there with embedded videos!

What skills and concepts do you want her to learn? That will determine the repertoire.

well Minniemay.. that is an interesting question. she is not as precise as she is passionate. She can make a piece sound great but does not play always, 'as written', altho the notes are always right. It takes quite a bit of practice for her to move beyond her comfort zone of expression. I would like her to pay more attention to phrasing, individual articulation and 'precision'. I never thought to choose a piece to address these 'issues'.

good food for thought.

Might I recommend a Mozart sonata, or perhaps the fantasies (such as the d minor one)?

He is technically easier than Beethoven, but far more difficult to hide no precision in as there is more clarity involved in his pieces. And there is always room to be passionate in his works.

That screams BACH to me! The Schumann Arabesque is already quite advanced, so her Bach level may be past the Inventions. Try some dance suites. The dances are short enough to focus on individual characters and styles.

If you're assigning literature without a real purpose other than it's a nice piece to play, you're putting the cart before the horse.

If phrasing and precision is the order of the day, then I suggest both Bach Short Preludes and Haydn (I always teach Haydn before I teach Mozart). The short preludes are better than the invention and dances initially because there is so much variety (some dances, some invention-like pieces).

Haydn's phrases tend to be shorter and have a lot of detail.

I sure appreciate the perspective.. Yes, Bach would be perfect. She thinks she doesn't like Bach (if you didn't know I am a total Bach freak). She plays several Mozart sonatas and does so very well. She had a very good teacher before me and has an excellent repertoire. Her teacher must have had all these dramatic hand movements and artifice. The movements are extemporaneous and really have no meaning. I'd like to convey to to her that every movement must have intention and there really is not time or use for 'decoration'.. or maybe I should leave well enough alone. For instance she will gracefully lift her left hand in a beautiful arch and not hold the note for the value it is given but will engage the pedal.

I'm afraid I will not be able to get her to 'drop' the Arabesque.. she is totally smitten. what a romantic she is.

I have a lot of Scarlatti and Handel literature and will select about 5 gorgeous Bach pieces from non WTC... with the idea of the horse leading the cart.

I second this recommendation. Bach is excellent for accuracy, and the Suites are gorgeous and enjoyable to play.

I don't have any advice to give but sometimes I sure do enjoy reading your posts, Apple.

20th century literature seems absent from the conversation. If precision is an issue, the 2nd Debussy Arabesque might be a good choice, or possibly the 2nd piece from Ibert's Histoires.