This is where I tout one of my favorite teaching tools. Back when I took in private students (mostly on bass clarinet, but quite a few on clarinet as well), I worked towards playing "recognizable music" as part of the syllabus for advanced first year and all second year students.
And, the cheapest and most useful forms of this that I found were so-called SSA vocal arrangements, purchased from the choral music department of the local music emporiums. At about three dollars a piece, they were a cheap yet useful form of music that both parents and students can related to.
The music types you can find range from classic pop (Gershwins are particularly good, with syncopation you are unlikely to find elsewhere at this level) to classic rock, and everything in between. At one point, I had a library of twenty five to thirty of these, long since handed off when I stopped teaching.
Arranged for two soprano voices and an alto, they are (of course) at concert pitch, which renders the piano accompaniment almost useless (unless you have a pianist who can transpose at sight). But, the three participants (two students (more on this in a minute) and the teacher) can play straight from the chart and all will line up correctly. I would estimate that you could use up to 85% of each tune without having to introduce the piano.
As you are playing a vocal line, the parts tend to be unornamented. But, these arrangements are often used for contest (with swing choir competitions), and they have the melody line pretty evenly distributed between the three parts. So, everyone gets featured. And, since the tunes are recognizable, the students are a lot more motivated than when playing Étude No. 32 out of a method book.
Two students? Well, I worked this by extending the lessons at which they were presented by ten minutes for the first student, and starting the next lesson ten minutes early for the second student. All three lines were assigned to each student (most of whom I had doubling on both clarinet and bass at that point in the cycle), and all would be cycled through each line on each arrangement.
At the end of the lesson cycle, we would do a performance of the worked up tunes for both sets of parents, swapping out the parts in three different arrangements.
If you can come up with a talented pianist, you can really make a production of it. I never landed such a person, but I know that they are out there.