Béla Bartók's "Bulgarian Rhythm" from Mikrokosmos, Vol. IV, No. 133, (in Hungarian, Mikrokozmosz) Sz. 107, BB 105 consists of 153 progressive piano pieces in six volumes written between 1926 and 1939. The individual pieces progress from very easy and simple beginner études to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the piece "appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works."

Volumes I and II are dedicated to his son Péter, while volumes V and VI are intended as professionally performable concert pieces. Bartók also indicated that these pieces could also be played on other instruments; Huguette Dreyfus for example has recorded pieces from Volumes III through VI on the harpsichord. And there are transcription made as methods used for learning for other instruments, such as the harp and the guitar.

In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife Ditta Pásztory-Bartók to play in concert.

All of the six volumes progress in difficulty, namely:

Volumes I and II: Pieces 1–36 and 37–66, beginner level
Volumes III and IV: Pieces 67–96 and 97–121, moderate to advanced level
Volumes V and VI: 122–139 and 140–153, professional level

(Information with the help of Wikipedia)

These pieces are used in some conservatoires as fundamental learning material, and together with Bach, I believe they cover a vast range a pianistic techniques indispensable to the pianist.

As compositional works, I believe these pieces to be made with excellent craftsmanship, and a great source of techniques and theoretical materials essential to the composer of the 21st Century.

The 'Bulgarian Rhythm' uses one of the folk rhythms from Bulgaria. Here one can feel the pulse to be in 7 beats, which can be counted as 12, 12, 123.
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