A3 Allegretto by Vanhal is very much a melody and accompaniment piece, and demands a timely left hand turn onto the second page. The reference to Mozart in the footnotes is important, as his style should be foremost in interpreting the slurred couplets (quavers and semiquavers) and dance-like staccatos. Repetitions come along to see if we can present them in slightly different ways! Careful listening is required for the left hand minims which underpin the harmony at the beginnings of bars - give them their full value. By contrast, care should be taken not to sustain the thumb quavers in the descending semiquaver figures towards the end.
There is something for students in this section, but the A4 Clementi Sonatina movement would be an enjoyable alternative too.
When it comes to Schumann, pedalling becomes instinctive as the player finds his or her own opportunities for light and shade. B2 Frohlicher Landmann is a very famous piece from the Album fur die Jugend. Here's a happy chappy humming his way home, so the song, wherever it lies, must have precedence. Schumann sometimes presents issues with fingering, and it's each to his own - go through, alter where necessary and practise slowly. I'm thinking particularly of bar 3 and whenever it appears. It's OK to use thumbs on black notes! Keep the accompaniment voicings light and detached.
We couldn't find anything more different than a funky 'wah-wah' guitar... C2 Bow-Chicka-Wow-Wow is enjoyable once you get used to the geography - hands crossing all over the place. Teacher and student could take turns flapping hands over ears as the other plays, as suggested in the footnotes! To keep it 'slappy', there should be no pedal. I think of Jools Hollands' playing style - fingers quite flat to the keyboard - for this piece. There are a couple of tricky moments for finger substitutions and the articulation demands are high, but it is possible to have great fun with this.
C3 is for real extroverts who can show control of the tempo changes. Black Eyes, the traditional Russian song, starts in a stately fashion (think Imperial ballroom), then shows off with increasing abandon, finishing in a flurry of chromatic scales that lift the roof. If any pupils are of the shy and retiring type, they'll either give this one a wide berth or be changed forever... The most important thing to do is to identify where and how tempos change - gradually or after pauses, for example - and then tap out rhythms and chords, as the chord placings vary and could cause issues. This would be a very exciting way to complete the exam performance!
This selection is a challenging but rewarding intro to intermediate level.