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Easy Baroque Duets for Violin: Violin Book

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Easy Baroque Duets for Violin Cover Image

Easy Baroque Duets for Violin: Violin Book

By Betty Barlow

Item: 00-0262

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Description
This collection of 26 duets for two violins has been arranged from works of the keyboard masters of the Baroque period. The pieces are of varying difficulty, for players of intermediate to advanced ability. Clearly edited and superbly printed, this album includes small gems from the German, Italian, French, and English masters of this immensely rich period. As a supplement to any string method, this book enables two players of equal facility to play together -- important in the development of pitch and the ear-training necessary for further chamber playing. Contents are: The King's March (Jeremiah Clarke) * Minuet (Georg Philipp Telemann) * Musical Pastime (Valentin Rathgeber) * Gavotte (Arcangelo Corelli) * Les Papillons (Jean Francois Dandrieu) * Aria (Bernardo Pasquini) * Minuet (Jeremiah Clarke) * Bourrée (Georg Philipp Telemann) * Menuet (Johann Krieger) * Aria (Johann Sebastian Bach) * Minuet (Johann Sebastian Bach) * Andante (Bernardo Pasquini) * Minuetto (Alessandro Scarlatti) * Prelude (Johann Gottfried Walther) * Ayre (Henry Purcell) * Toccata (Carlos Seixas) * Aria (Alessandro Scarlatti) * Fanfare (Francois Couperin) * Rigaudon (Francois Couperin) * Menuet in D Minor (George Frederic Handel) * Impertinence (George Frederic Handel) * Air (George Frederic Handel) * Sonatina (George Frederic Handel) * Rigaudon (Jean Philippe Rameau) * Les Fifres (Jean Francois Dandrieu) * Moderato (Georg Philipp Telemann).

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Additional Details
Publisher: Alfred Music
Page Count: 32
ISBN10: 0-87487-262-6
ISBN13: 978-0-87487-262-0
UPC: 029156147629
SKU: 00-0262

More about this title

Why we love this

This collection solves a real teaching problem: finding Baroque duets that sit comfortably for intermediate-to-advanced players without dumbing down the repertoire. Barlow's arrangements preserve the character and harmonic richness of keyboard originals while distributing the musical ideas naturally across two violin parts, making each player feel engaged rather than subordinate.

What to expect

Elegant and refined. These pieces sparkle with the grace of the Baroque keyboard tradition while remaining playable on violin without transcription gymnastics. There's real musical substance here: you'll find moments of counterpoint, spirited rhythmic drive, and gentle lyricism all within manageable technical parameters.

Who it's for

String duos working at the intermediate-to-advanced level who want substantial Baroque repertoire that challenges both players equally. This collection also serves Suzuki students and private studio partnerships seeking to develop ensemble skills and ear training alongside their individual practice.

How to get the most out of it

  • Balance the two parts carefully during early rehearsals. These pieces often feature dialogue between the violins, so identify who carries the melody in each phrase and adjust bow weight accordingly.
  • Work on phrase shaping together before worrying about technical precision. Baroque style thrives on clear articulation and unified breathing, even on instruments.
  • Listen to keyboard recordings of these same works if available. Understanding the original harmonic context and ornamentation will inform your approach to the violin arrangement.
  • Pay attention to the printed dynamics and articulations. Barlow's editing guides phrasing choices that elevate these pieces beyond simple note-reading exercises.

How to use it

Feature these duets in student recitals, chamber music festivals, or ensemble concerts where you want to showcase the maturity of intermediate players. Smaller pieces like the Minuets and Gavottes work well as opening numbers, while longer works like the Sonatina can anchor a chamber music segment.

Skills your students will build

  • Reading and executing articulations specific to Baroque style (slurs, detaché, staccato)
  • Balancing two independent melodic lines and tracking harmonic movement
  • Listening and adjusting intonation in real time with a partner
  • Interpreting phrasing and musical intent from a historical style
  • Ensemble communication without a conductor

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