Just for Two, Book 4: Piano Duet (1 Piano, 4 Hands) Book

Alexander has an exceptional gift for creating duets that feel genuinely collaborative rather than one-hand-leading-one-hand. Both parts matter here; neither student takes a back seat. The mix of styles (ragtime, lullaby, classical nocturne, tarantella) keeps students engaged across the book, and two of these pieces carry Federation Festival recognition, which gives them real weight in a curriculum.

A collection brimming with variety and personality. One moment you're navigating the syncopated swagger of a rag, the next you're wrapped in the gentle intimacy of a lullaby, then suddenly dancing through a fiery tarantella. Alexander writes music that feels natural under the fingers while maintaining genuine musical substance.

Late intermediate pianists who are ready to move beyond solo repertoire and experience the ensemble skills that duet playing requires. This book works well for studio teachers managing students of similar level, or for pianists preparing for duet festivals and recitals.

• Balance the parts carefully at the opening of each piece. Neither the primo nor secondo should dominate; listen to how your colleague sits beside you and match that energy.
• Work out the most complex rhythmic passages (the syncopation in 'Roly-Poly Rag' particularly rewards separate rehearsal before hands come together).
• In 'Tarantella Fantastico', establish a rock-solid tempo together before you begin; the dance character depends on rhythmic confidence.
• Pedal changes often affect both parts, so plan these transitions as a duet team, not individually.

Program these duets on studio recitals to showcase student collaboration and listening skills, or select the Festival-recognized pieces ('Notturno in E-flat Major' and 'Tarantella Fantastico') for competition preparation. The five-piece structure makes this book ideal for a duet recital program, or you can pick individual selections to pair with solo repertoire on a mixed concert.

• Listening and ensemble awareness while playing
• Managing two independent rhythmic lines simultaneously
• Pedal coordination between two players
• Reading balanced textural roles (melody, accompaniment, counter-melody)
• Musical style interpretation across multiple genres (ragtime, classical, dance)
• Communicating musically without verbal cues during performance