Jazz, Rags & Blues for Two, Book 3: Piano Duet (1 Piano, 4 Hands) Book

Mier's gift for writing duets that sound fresh and inventive without becoming technically unwieldy makes this book particularly valuable for intermediate students ready to experience genuine musical styles. Each piece has distinct character, the blues grooves feel authentic, the rags have swing and snap, yet they remain accessible enough that partners at similar levels can play together immediately. The fact that two of these duets are Federation Festival selections confirms what teachers already know: Mier understands the sweet spot between student-friendly writing and music worth playing.

These duets swing with genuine character. The blues numbers groove with that satisfying, relaxed pocket while the rags sparkle with rhythmic energy and spirit. Playing them feels like stepping into a small ensemble context where both voices matter equally; the interplay between parts makes the music come alive in a way solo playing often doesn't.

Intermediate to late-intermediate pianists working in pairs, whether students preparing for festivals and recitals, teachers and students exploring duet repertoire together, or adult learners who want to share the experience of making music at the keyboard. This book suits anyone craving accessible entry into blues, jazz, and ragtime styles without stepping into advanced harmonic territory.

• Establish a steady pulse together before playing. The rhythm section part (usually primo) needs rhythmic clarity for the melody player to trust the foundation, especially in the blues numbers where the swing feel matters.
• Balance the sound so both players can be heard. In duets on one piano, it's easy for the primo to dominate; listen to recordings or performances to gauge how much dynamic space each part deserves.
• Work out the stylistic feel in isolation first. If you're playing 'Louisiana Strut,' agree on swing articulation before combining hands; if it's a blues, nail the shuffle rhythm in separate rehearsals so you're speaking the same musical language.
• Practice the page turns and hand crossings from the start. Nothing derails a duet faster than a fumbled page turn or a moment where both hands collide; treat these logistics as part of learning the piece.

Schedule duet performances on recitals to showcase student collaboration and variety of musical style, audiences respond well to the warmth and humor in a good blues or ragtime duet. Use them in studio lessons as sight-reading material with intermediate students, or assign them as rewards for progress, since the pieces are fun enough to feel like celebration rather than obligation.

• Swing articulation and shuffle rhythm in blues contexts
• Ragtime syncopation and stride patterns
• Ensemble listening and rhythmic lock with a partner
• Balance and independence between primo and secondo parts
• Stylistic interpretation in American vernacular music forms
• Page turning and hand positioning on a shared keyboard