You might want to try this technique for which you will need only your
most contrasty (highest magenta) and least contrasty (highest yellow)
filters:

1.  With your first sheet of paper, give incremental 3-second exposures
in strips across the whole sheet with the darkest (maximum contrast)
magenta filter you have.  Look at the strips, especially at the shadows,
and pick the one that gives you the shadows you want---deep, but with
enough detail.

2.  Repeat with second sheet, this time using the least contrasty
(maximum yellow) filter.  Evaluate, particularly the highlights, and
choose the best strip.

3.  Let's say, for instance, that at f/11, your best high-contrast
exposure was 9 seconds and your best low-contrast exposure was 6
seconds.  On your third sheet of paper, give two exposures--- one at 9
seconds with your highest magenta filter and then, without changing
anything except the filter, give another exposure at 6 seconds at full
yellow.

4.  After development, you should be very close to what you're looking
for.  You'll be close enough to know where you ought to go from there.  
If you need more density, but the contrast looks right, then increase
both magenta and yellow exposures proportionally equally.  If you need
less density, give proportionally less to each exposure.  If it needs to
be more contrasty, but the density is correct, increase the magenta time
by a few seconds; if it needs less contrast, increase the yellow a few
seconds.

If only a specific area needs more or less contrast, you can burn with
the appropriate filter.  Alternatively, you can dodge with one or the
other filters during the original exposures.  E.g. if 9 sec. Magenta
gives you washed out sky tones in one area, you can either increase
density in that area by burning with both yellow and magenta, or you can
dodge for a couple seconds during the magenta exposure, so that
proportionally, that area gets less magenta and more yellow.

Remember:  density changes without contrast changes demands
proportionally equal amounts of both magenta and yellow; density and
contrast changes can be done with either filter using burning or dodging.

Once you experiment a bit with this method, which is called split filter
printing, you'll find that printing becomes almost absurdly easy.  It's
one of the great joys of using variable contrast paper.  I've been using
it for years, though using a color head to dial in the magenta and yellow.

Larry