Accent on Ensembles, Book 1 Cover Image

Accent on Ensembles, Book 1: Flute Book

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Accent on Ensembles, Book 1: Flute Book

Duets, Trios and Quartets for Flexible Instrumentation Correlated with Accent on Achievement, Book 1

By John O'Reilly and Mark Williams

Item: 00-19613

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Accent on Ensembles is an exciting book of duets, trios and quartets for flexible instrumentation that correlates with Accent on Achievement, Book 1. Use these ensembles to develop confidence in young players and as a valuable resource for music during contest season. Since the instrumentation is flexible, any combination of instruments can play together. Accent on Ensembles, Book 2 is an exciting book of duets, trios and quartets for flexible instrumentation that correlates with Accent on Achievement, Book 2.

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Additional Details
Series: Accent on Achievement
Publisher: Alfred Music
Page Count: 24
ISBN10: 0-7390-1158-8
ISBN13: 978-0-7390-1158-4
UPC: 038081184937
SKU: 00-19613
Instrumentation: Flute

More about this title

About the Authors

John O'Reilly

Mark Williams
Mark Williams stands out as a leading composer specializing in school band and orchestral music. He co-authored the widely used Accent on Achievement Band Method and published over 200 compositions throughout his career. A Chicago native who settled in Spokane, Washington, Williams spent many years teaching music in the state, with a focus on elementary band instruction.

His work has earned significant recognition, including the Gralia Competition from the Western International Band Clinic and multiple ASCAP Special Awards. Williams holds both a Bachelor of Arts in Education and a Master of Education from Eastern Washington University. He also served as a woodwind performer and arranger with the 560th Air Force Band.

Beyond composing, Williams maintained an active schedule as a clinician and guest conductor, visiting 34 states, five Canadian provinces, and Australia. He performed regularly on bassoon and held the position of Conductor and Artistic Director for the Spokane British Brass Band.

Why we love this

These ensembles give young flutists genuine reasons to work together beyond full-band rehearsal. The flexible instrumentation means you're not locked into specific combinations, so you can use them for sectional work, small group performances, or to keep players engaged during contest season without pulling from your main concert repertoire.

What to expect

Straightforward and encouraging. These are pieces built to succeed, with clear melodic ideas and accessible ranges that let young flutists focus on blend and listening rather than struggling with the notes themselves.

Who it's for

Flutists in Book 1 of Accent on Achievement who are ready to experience playing in small ensembles. Whether your ensemble spans beginner to intermediate players, the flexible instrumentation lets everyone participate without the pressure of a large group.

How to get the most out of it

  • Balance tone within each part; flute duets especially expose intonation problems, so listen carefully to the interval being created rather than playing into the void.
  • Count rests with the same attention you give to notes. Young players often rush back in after silence, so lock in the pulse before entries.
  • Use the flexible instrumentation to your advantage by pairing flutists of different levels on the same part, letting stronger players model phrasing and breath placement.
  • Shape phrases within each line even in simple textures; stagnant dynamics make short pieces feel longer than they are.

How to use it

Pull from this book during the same teaching cycle as Accent on Achievement Book 1 to reinforce concepts students are learning in the main method. Use duets for private lesson homework, trios in sectionals, or quartets as performance opportunities at informal concerts or festivals where you want shorter, high-success pieces that build confidence.

Skills your students will build

  • Playing in tune within a small group
  • Counting and synchronizing entries with other players
  • Blending tone quality across parts
  • Listening to harmony and balance rather than focusing only on individual lines
  • Phrasing awareness in shorter musical forms

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