Beautiful Music for Two String Instruments, Book II: 2 Violas Book

Applebaum's duets work because they prioritize listening and balance from the start. Two violas at the same level means genuine ensemble responsibility: neither part is subordinate, neither player can coast. The writing is grateful without being simplistic, giving players immediate success while building the habits (intonation awareness, phrase shaping, dynamic control) that matter in any ensemble.

Applebaum's writing has the warmth of chamber music without the complexity. Two violas blend naturally; these duets let that blend speak. The pieces are unpretentious and direct, with enough melody to feel like real music-making and enough space for natural phrasing and conversation between the lines.

String class teachers who need short, repeatable duets for intermediate violas (and viola teachers working with pairs of students). This book works equally well in structured ensemble settings and as a motivator for students who want to make music with a friend outside rehearsal.

• Establish a steady pulse before each piece by playing an open string unison passage together; this synchronizes bow speed and creates the foundation for phrases that breathe as one.
• Rotate parts between rehearsals so both players experience the upper and lower lines, building sensitivity to how each voice contributes to the whole.
• Mark dynamic contrasts lightly in pencil during a full read-through, then use the second rehearsal to shape the phrase collectively rather than individually.
• Record a duet on your phone and listen back immediately; viola players often hear themselves in isolation during performance and miss balance issues that playback reveals.

Duets from this collection fit naturally into winter or spring recitals where you want to showcase chamber work from younger ensembles, and they're ideal for string festivals where viola pairs need accessible, meaningful repertoire. Use them as rotation activities during string class when students need focused listening experience, or send them home as incentives for students interested in making music outside the rehearsal room.

• Active listening and awareness of balance between two equal lines
• Intonation accuracy in duet context (both unison and harmonic intervals)
• Sustained phrasing and dynamic shaping in ensemble
• Reading and performing from a secondary viola part (not always the melody)
• Rhythmic independence while maintaining ensemble cohesion