In piano learning, most of the repertoire studied bu students is Western music, spanning from Baroque to contemporary eras; and ranging from folk songs to holiday pieces. As a result, students often develop a relatively narrow understanding shaped primarily by Western composition. Taiwanese composer and educator Mao-Shuen Chen is not confined by this tradition; instead, he strives to offer students a different sonic experience through his piano works. In his piano sonatinas, he blends Western form, rooted in tonal harmony, with Asian musical elements such as a pentatonic scale, thereby creating a distinctive Chinese musical aesthetic for students. In addition, he boldly employs three-against-four polyrhythms to cultivate rhythmic awareness and coordination in young students. He also applies tonal instability, even in a simple piece, to broaden young students’ aural imagination. By combining Western compositional techniques with Asian musical idioms, Chen creates a unique synthesis that broadens the piano repertoire. However, these sonatinas remain relatively unknown, even in Taiwan, limiting the potential impact in piano education worldwide. Chen’s sonatinas play an important role in piano pedagogy for their educational and cultural significance. I argue that introducing Chen’s works into teaching contexts can enrich students’ imagination of the sound, reinforce their theoretical understanding, and foster openness toward diverse musical languages. By analyzing Chen’s piano sonatinas and observing students’ learning process when studying them, this paper demonstrates the pedagogical value and examines how they deepen cultural appreciation while expanding students’ aural experience. Ultimately, Chen’s works show that different rhythms can coexist, just as different cultures can be fused, highlighting their contribution to cross-cultural music education.