Chamber Music for Two String Instruments, Book I: 2 Violas Book

This collection arrives at exactly the moment when viola students need repertoire that matches their developing voices without talking down to them. The duet format keeps both players engaged equally, and inclusion in the Federation Festivals list means you have built-in performance incentives for your students.

These duets offer young violists the chance to hear their own voice within a musical texture. Rather than accompanying a lead melody, both players contribute meaningfully to the harmonic and melodic fabric, creating the satisfying blend that defines true chamber music.

Viola students who have reached page 24 of the Applebaum String Method and are ready to apply their technique in a collaborative setting. This book works equally well with students from other methods if they have comparable proficiency in reading and bow control.

• Balance the two viola lines by listening for the melodic contour rather than matched volume. The line carrying the primary theme may need gentle prominence, but both voices should sing.
• Mark bowings collaboratively in both parts before rehearsal. Identical or complementary bowings create the unified texture that makes duet playing rewarding for young players.
• Establish a consistent pulse by counting aloud together during early rehearsals, then internalize it. Two young players without a conductor benefit from this shared responsibility.
• Use the piano accompaniment strategically: lean on it during initial rehearsals for security, then gradually minimize it as confidence grows so the violas own the musical space.

Feature pairs of students in recitals or studio showcases as the program develops. The festival designation makes these pieces natural choices for competitive seasons, offering students meaningful performance goals beyond the daily lesson.

• Reading two-part viola textures with independent rhythm patterns
• Listening for blend and balance with another string instrument
• Sustaining longer phrases with appropriate bow distribution
• Coordinating entrances and releases with a chamber partner
• Responding to the harmonic context created by a piano accompaniment