Essential Keyboard Duets, Volume 8 Cover Image

Essential Keyboard Duets, Volume 8: Piano Duet (1 Piano, 4 Hands) Comb Bound Book

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Essential Keyboard Duets, Volume 8 Cover Image

Essential Keyboard Duets, Volume 8: Piano Duet (1 Piano, 4 Hands) Comb Bound Book

45 Teacher/Student Selections in Their Original Form

Ed. Gayle Kowalchyk and E. L. Lancaster

Level: Elementary / Late Elementary

Item: 00-37610

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Description
This collection of 45 piano duets (for one piano, four hands) consists of selections for teachers and students at the elementary to late elementary levels. Duet repertoire from the 18th, 19th, and early 20th centuries are included by such composers as Cui, Diabelli, Enke, Foote, Godowsky, Gurlitt, Löw, Reinecke, Sartorio, and more. Students will improve in musicianship, ensemble performance, fingering, and rhythmic control while enjoying this delightful duet literature. To facilitate reading, the primo and secondo parts are on separate pages. The comb binding creates a lay-flat book that is perfect for study and performance. Essential ornamentation is realized in footnotes, both parts contain measure numbers for convenient reference, and brief composer biographies are included. Titles: Albumblatt (Godowsky) * Alla Turca, Op. 149, No. 26 (Diabelli) * Ballade, Op. 26, No. 1 (Rosenauer) * Barcarolle, Op. 211, No. 18 (Gurlitt) * Barcarolle, Op. 54, No. 3 (Reinecke) * Berceuse, Op. 96, No. 6 (Moszkowski) * Bird in Spring, Op. 996, No. 12 (Sartorio) * Bolero, No. 9 (Foote) * By the Lake, Op. 6, No. 3 (Enke) * Carousel Waltz, Op. 87, No. 12 (Wohlfahrt) * Evening, No. 8 (Löw) * First Suite: At Night (Godowsky) * First Suite: In Church (Godowsky) * First Suite: Lullaby (Godowsky) * First Suite: Rustic Dance (Godowsky) * Galop (Stravinsky) * Gray Day, Op. 74, No. 3 (Cui) * Joys of Summer, Op. 996, No. 15 (Sartorio) * The Lead Soldier, Op. 266, No. 5 (Landry) * Little Echo, Op. 432, No. 10 (Sartorio) * Little Minuet, Op. 87, No. 18 (Wohlfahrt) * Little Story, Op. 996, No. 13 (Sartorio) * Little Waltz, Op. 432, No. 11 (Sartorio) * A Lively Event, Op. 149, No. 19 (Diabelli) * March, Op. 136, No. 5 (Gurlitt) * May Dance, Op. 62, No. 13 (Berens) * Mazurka amusante, Op. 53, No. 2 (Grimaldi) * Minuetto sentimentale, No. 4 (Galluzzi) * Morning Song, No. 14 (Löw) * Polka, Op. 308, No. 2 (Becucci) * Promenade, Op. 62, No. 23 (Berens) * Romance, Op. 6, No. 1 (Enke) * Royal Procession, Op. 149, No. 10 (Diabelli) * Sailing, Op. 87, No. 34 (Wohlfahrt) * A Serious Moment, Op. 87, No. 22 (Wohlfahrt) * The Sleepy Boy, Op. 26, No. 6 (Emery) * Solemn March, Op. 74, No. 10 (Cui) * Sonatina in D Minor, Op. 163, No. 6 (First Movement) * Stately Dance, Op. 87, No. 20 (Wohlfahrt) * Swedish Lullaby, Op. 62, No. 12 (Berens) * A Thoughtful Conversation, Op. 149, No. 22 (Diabelli) * True Friendship, Op. 996, No. 16 (Sartorio) * Waltz, Op. 211, No. 8 (Gurlitt) * Waltz, Op. 308, No. 1 (Becucci) * Waltz, Op. 54, No. 6 (Reinecke).

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Additional Details
Series: Alfred Masterwork Edition: Essential Keyboard Repertoire
Publisher: Alfred Music
Page Count: 160
ISBN10: 0-7390-8170-5
ISBN13: 978-0-7390-8170-9
UPC: 038081422237
SKU: 00-37610

More about this title

Why we love this

The separate primo and secondo page layout eliminates the awkward page turns and cramped notation that plague many duet collections, letting both players focus on listening and responding to each other. Forty-five pieces means you're never hunting for something at the right level or mood; you'll find lyrical barcarolles, character pieces, dances, and salon works that actually sound mature without demanding advanced technique.

What to expect

These duets transport you to 19th century drawing rooms and early modern European concert halls. You'll encounter tender lullabies, sprightly waltzes, impressionistic character sketches, and charming salon pieces that balance technical control with genuine musical storytelling, each one short enough to master but substantial enough to feel rewarding.

Who it's for

Piano teachers preparing elementary and late elementary students for duet recitals or collaborative performance experiences, and duet students ready to expand beyond method book selections into genuine 19th and early 20th century repertoire. These pieces work equally well for pair recitals, studio showcases, or the summer student who needs polished duet literature that doesn't require the advanced facility of later-level collections.

How to get the most out of it

  • Start rehearsals by having both players sing or hum their line separately so each understands the melodic shape and where the musical weight sits; this prevents the secondo from drowning out the primo or the primo from rushing ahead.
  • Use the measure numbers printed in both parts to mark difficult sections and troubleshoot timing issues without confusion about which page or line you're referencing.
  • Agree on a single tempo before starting and tap it silently for two measures before playing; these character pieces often live in the space between rushed and draggy, and hearing the tempo together prevents one player from pulling the other.
  • Read the composer biographies included in the book so students understand the historical context of each piece; knowing whether you're playing Romantic dance music or early 20th century salon work changes how you shape dynamics and phrasing.

How to use it

Build a duet recital entirely from this collection and let the variety of moods and styles carry an audience through an entire program without repetition. Alternatively, assign one piece per week throughout a semester so students experience different composers and genres while developing consistent duet habits. The comb binding makes it ideal for permanent studio reference; keep it open on a stand during lessons to find pieces that match a student's current level and interests.

Skills your students will build

  • Listening and responding to an ensemble partner in real time
  • Coordinating entries and cutoffs across four hands on one keyboard
  • Balancing melody and accompaniment roles while maintaining independence
  • Reading separated primo and secondo staves and learning both parts fluently
  • Interpreting ornaments realized in footnotes and applying period-appropriate style
  • Sight-reading fluency across a diverse historical repertoire
  • Managing rhythmic accuracy in ensemble without a conductor

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