Care to Tango? Book 2: 2 Violins & Piano Book & Online Audio

These arrangements strike an uncommon balance between genuine musical styles and practical ensemble voicing. McLean respects the character of each piece (whether flamenco, tango, or Hungarian folk) while writing idiomatically for two violins and piano, so students aren't playing simplified versions but rather thoughtfully reimagined ones. The collection works equally well for festival competition or concert programming.

Stepping into the vibrant world of Spanish, Hungarian, and Scandinavian dance traditions. These arrangements pulse with rhythmic vitality and straightforward melodic charm; students feel the romance and fire of tango, the wildness of a Hungarian folk celebration, and the spiraling energy of tarantella without the weight of formal concerto writing. It's music that feels alive.

Intermediate and advancing violin students working in duet and trio settings, whether in group lessons, chamber ensembles, or private studio teaching. Directors programming festival competitions or spring concerts will find pieces that allow violinists to explore styles beyond classical repertoire while building genuine musicianship.

• Establish the rhythmic character early in rehearsal by having pianists and violinists listen to the recorded accompaniment together; the rhythmic specificity of tango and bolero is non-negotiable.
• Shape the violin lines with awareness of the original styles: Hungarian Dance #1 benefits from dramatic dynamic shifts, while Tarantella demands crisp articulation and steady energy throughout.
• Tune the unison passages carefully, particularly in the opening statements of pieces like Fandango and Tango, where blend directly affects style authenticity.
• Use the separate violin part inserts to encourage independence between first and second violin; many pieces require distinct roles that become clearer when students can focus on their own line.

Slot individual pieces into a concert that mixes era or style, letting each selection represent its cultural tradition. Several titles work as contest pieces for festival circuits. Book 2 also pairs naturally with classical or contemporary chamber works, offering programming contrast that keeps audiences engaged across a full recital.

• Playing with rhythmic conviction in non-classical meters and syncopated patterns (tango, bolero, flamenco rhythms)
• Intonation accuracy in sustained unison passages and harmonic intervals
• Stylistic differentiation among Spanish, Hungarian, and Scandinavian musical idioms
• Ensemble balance and independence when one violin carries melody while the other provides rhythmic or harmonic support
• Articulation clarity in fast passages, especially in Tarantella and Fandango