SOUNDINNOVATIONS

™

STRINGS

BROCHURE & SAMPLER

for STRING ORCHESTRA

2

So

un

d D

ev

elo

pm

en

t Inte

rme

dia

teS

ou

nd

De

ve

lop

me

nt A

dv

an

ce

d

SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE INTRODUCTION

™

Sound Innovations: Sound Development for Intermediate String Orchestra emphasizes playing with a characteristic beautiful sound. The components of producing this sound are broken into four levels, consistent with the revolutionary Sound Innovations structure. The levels can be used in the order that is best for your students, as individual warm-ups, or as structured units. Your students will learn the proper use of the bow with the variables of tone, the next group of bowings needed for intermediate repertoire, and how to shift and play with vibrato. These skills will be reinforced with comprehensive scales, arpeggios, sight-reading materials, rhythm exercises, and warm-up chorales. Video demonstrations of key skills are indicated throughout the book and available online at alfred.com/sounddevelopmentvideo.

Technical development in a clear, concise yet thorough manner Skills defined and sequenced into learning routines The Sound Innovations revolutionary clear and uncluttered page layout Available in SmartMusic

Focus on improving sound with bow lanes, bow weight, bow speed, shifting, and vibrato Two warm-up chorales that can be performed by the entire orchestra or with flexible instrumentation

Features

Scan to view a Sound Development Intermediate video

alfred.com/sdintstringsdvd

SOUND DEVELOPMENTWarm-up Exercises for Tone and Technique

INTERMEDIATE STRING ORCHESTRA

The Sound Innovations authors bring years of extensive teaching, conducting, and composing experience.

Bob PHILLIPS Peter BOONSHAFT Robert SHELDON Dr. Kirk D. MOSS

Authors

3

So

un

d D

ev

elo

pm

en

t In

term

ed

iate

So

un

d D

ev

elo

pm

en

t A

dv

an

ce

d

FEATURES SOUND DEVELOPMENT INTERMEDIATE SI for STRINGS

Bowing lanes

Bow weight

Bow speed

Bow division

Repertoire for practice

More than just scales and arpeggios, this method builds sequences upon some of the most important variables of sound: bowing lanes, bow weight, and bow speed. This level contains a sequential development of the skills that affect tone production, with easy-to-teach-and-play warm-up exercises. The most comprehensive presentation of how to develop an excellent tone in young players, this level provides plenty of practice opportunities.

LEVEL 1

Sound Tone

4

So

un

d D

ev

elo

pm

en

t Inte

rme

dia

teS

ou

nd

De

ve

lop

me

nt A

dv

an

ce

d

SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE FEATURES

A performer’s right-hand technique is often called the string player’s voice. This level will help your students develop that voice with sound-driven technique focused on right-hand skills. Develop your students’ right-hand finger flexibility and hear the difference on every bow change. Refine hooked bowings, and articulate martelé and spiccato, among other techniques, with this comprehensive presentation of the attack strokes. Complete pedagogical sequences of right-hand skills are presented as self-contained units with careful attention to detail. This allows Level 2 to be taught sequentially or as repertoire requires.

Detaché

Tremolo

Staccato

Staccato hooks

Legato hooks

Martelé

Collé

Spiccato

Chop

Repertoire for practice

LEVEL 2

Sound Bowings

5

So

un

d D

ev

elo

pm

en

t In

term

ed

iate

So

un

d D

ev

elo

pm

en

t A

dv

an

ce

d

FEATURES SOUND DEVELOPMENT INTERMEDIATE SI for STRINGS

Shifting techniques are introduced through harmonics, and positions are thoroughly presented using finger patterns. This level contains comprehensive unison presentation of 3rd position for violins and violas, 3rd and 4th positions for cellos, and 3rd, 4th, and 5th positions for basses. It also provides a solid introduction to 2nd and 4th positions for all instruments. Clearly notated transport/guide fingers, and finger-pattern logic allow students to have a structured understanding of shifting through 5th position for violins. The fingering chart is strategically placed in this section for visual reference.

Finger pattern logic

Natural harmonics

Transport/guide notes

Clearly marked fingerings

Shifting exercises

Repertoire for practice

More vibrato

Fingering chart

LEVEL 3

Sound Shifting

6

So

un

d D

ev

elo

pm

en

t Inte

rme

dia

teS

ou

nd

De

ve

lop

me

nt A

dv

an

ce

d

Two-octave scales and arpeggios

Major and minor keys

Key signatures through 3 sharps and 3 flats

Broken thirds

Bowing variations

Harmonized and drone accompaniments

Finger-action exercises

Four-part chorales

Sight-reading training

Counting rhythms

Two sets of fingerings for every scale

Continuing the development of the sight-reading system used in Sound Innovations for String Orchestra, Books 1 and 2, scales, arpeggios, and broken thirds are presented in all keys up through three sharps and down through three flats. The innovative format is flexible and easy-to-teach, allowing each section or player to play one or two octaves while the ensemble either plays the same or different octaves. Harmonized string orchestra and drone accompaniment lines are provided. Each exercise or accompaniment has clearly marked rehearsal letters to save valuable class time and avoid confusion. This section includes rhythm exercises in a variety of meters, with additional reproducible rhythm pages in the Teacher’s Score.

LEVEL 4

Scales, Arpeggios, Chorales, & Rhythms

SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE FEATURES

7

So

un

d D

ev

elo

pm

en

t In

term

ed

iate

So

un

d D

ev

elo

pm

en

t A

dv

an

ce

d

Perfect reference book for scales and arpeggios Valuable resources for state and festival auditions Technical development in a clear, concise, yet thorough manner Skills defined and sequenced into learning routines The Sound Innovations revolutionary clear and uncluttered layout Available in SmartMusic

Focus on improving sound with bowing lanes, bow weight, bow speed, shifting, and vibrato Further develops the innovative, flexible, and easy-to-teach format for scales, including a pedagogically sound approach to introduce the third octave Supplemental Master Class video clips available online to demonstrate necessary skills

Features

Scan to view a Sound Development Advanced video

alfred.com/sdadvstringsvideo

™

Warm-up Excercises for Tone and TechniqueSOUND DEVELOPMENT

ADVANCED STRING ORCHESTRA

Sound Innovations: Sound Development for Advanced String Orchestra continues the emphasis on playing with a characteristic beautiful sound. The components of producing this sound are broken into four levels, consistent with the revolutionary Sound Innovations structure. The levels can be used in the order that is best for the development of your students. Video demonstrations of key skills are indicated throughout the book and available online at alfred.com/sounddevelopmentvideo.

“ “Sound Development Advanced fills a HUGE gap in pedagogy—what to do with those kids in a regular or above-regular H.S. orchestra. The answer has always been just try to fill the gap with literature but now we have a resource. This book is something we are going to buy.

Mark ShollDirector of Orchestras, Music CoordinatorHilliard, Ohio

INTRODUCTION SOUND DEVELOPMENT ADVANCED SI for STRINGS

8

So

un

d D

ev

elo

pm

en

t Inte

rme

dia

teS

ou

nd

De

ve

lop

me

nt A

dv

an

ce

d

Bowing lanes

Bowing weight

Bow speed

Chorales

Level 1: Sound ToneBowing Lanes

& 4

4

œ

≥

œ ˙

F

œ

≤

œ ˙

P

˙

≥

œ œ

f

œ

≤

œ œ œ ˙

p

.˙Œ

,

ƒ

œ

≥

œ œ œ œ œ œ œ œŒ

pp

CHANGING BOWING LANES—Move your bow to the new bowing lane during each dynamic change.

& 4

4 w

≤

pp

w w

≥

ƒ

w

p

CHANGING BOWING LANES IN ONE BOW—Move your bow through all six bowing lanes in one bow. Challenge: Go back and play this exercise starting down bow.

&

#

4

4

œ

≥

œ˙

p

Andante doloroso

œ

œ˙

œœ

œœ

œ

P

œœ

.œ

‰

4

œ

≤

œ˙

pp

œ

œ˙

&

#

œœ

œœ

œ

4 4

œ#˙

Œ

,

œ

≥

œ˙#

F f

œ

œ˙#

F f

œ

>

œ#

>

œ

>

œ

>

œ

>

ƒ

œ#

>

˙

>

Œ

4 o

THE DEATH OF ÅSE—Practice playing in all six bowing lanes. Challenge: Have a friend watch your bow to check all of the lane changes.Edvard Grieg

&

#

#

4

3

œ

≥

œœ# œ

œ œœ œ

œn œœ œ

pp

sul tastoAllegro moderato

œ œœ œ

œ œœ# œ

œ œœ œ

œ œœ# œ

œ œœ œ

œn œœ œ

œ œœ œ

œ œœ# œ

œ œœ œ

.˙

SUL TASTO: SYMPHONY NO. 8—Sul tasto indicates to play over the fingerboard. Place your bow over the end of the fingerboard anduse a very-light bow weight with a very-fast bow speed in the upper third of the bow. Listen for an airy, flute-like, sound.

Franz Schubert

&b

4

4

œ

≥

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

f

sul ponticelloAdagio ma non troppo

œ

œœ

œœ

œœ

œœ

œ

œœ

œœ#

œ

œ

4

˙N

Ó

SUL PONTICELLO: SYMPHONY NO. 97—Sul ponticello indicates to play as close to the bridge as possible. Place your bow near the bridge and listen for a bright, metallic sound.

Joseph Haydn

&

#

4

4

œ

≥

œœ

œœ

œœ

œ

p

frogLento

œ

≤

œœ

œœ

œœ

œ

f

4tip

4

œœ

œœ

œœ

œœ

p

sim.œ

œœ

œœ

œœ

œ

f

4 4

&

#

œœ

œœ

œœ

œœ

p

œœ

œœ

œœ

œœ

f

4 4

œœ

œœ

œœ

œœ

p

w

f

WHOLE BOW EXERCISE NO. 3—Practice adding weight as the bow nears the tip and releasing weight as the bow nears the frog.

Nicolas Laoureux

A BOWING LANE is the area between the fingerboard and bridge where the bow is placed: G

DAE

Piano LaneMezzo Piano LanePianissimo Lane

Mezzo Forte LaneForte LaneFortissimo Lane

View video (Bowing Lanes) at alfred.com/SoundDevelopmentVideo

1

2

3

4

5

6

7

8

9

10

11

2

More than just scales and arpeggios, this method builds sequences upon some of the most important variables of sound: bowing lanes, bow weight, and bow speed. Detailed refinement of these concepts includes advanced exercises, excerpts, and chorales.

LEVEL 1

Sound Tone

SI for STRINGS SOUND DEVELOPMENT ADVANCED FEATURES

9

So

un

d D

ev

elo

pm

en

t In

term

ed

iate

So

un

d D

ev

elo

pm

en

t A

dv

an

ce

d

FEATURES SOUND DEVELOPMENT ADVANCED SI for STRINGS

Level 2: Sound BowingsSpiccato View video (Spiccato) at

alfred.com/SoundDevelopmentVideo

SPICCATO—Separate bow strokes that bounce off the string, sometimes called a brush stroke. Sound Advice: Start on the string and gradually lift weight out of the bow allowing it to bounce in an arc-like motion ( ) over the string.

& 4

4

œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

≥

œ œ œ œ œ œ œ

18_G1 Spiccato

or

(near frog) (near balance point) (near middle of bow)

SPICCATO BOW PLACEMENTS

& 4

4 r

œ

.

≥

‰ .

,

r

œ

.

≥

‰ .

,

r

œ

.

≥

‰ .

,

r

œ

.

≥

‰ .

,

P

Moderatofrog collé

r

œ

.

≤

‰ . r

œ

.

≤

‰ . r

œ

.

≤

‰ . r

œ

.

≤

‰ .

sim.

œ

.

≥

‰œ

.

≤

‰j

œ

.

≥

‰

œ

.

≤

‰œ

.

≥

‰j

œ

.

≤

‰

3 3 3 3crawl

œ

.

≥

‰œ

.

≤

‰j

œ

.

≥

‰

œ

.

≤

‰œ

.

≥

‰j

œ

.

≤

‰

3 3 3 3

&œ

.

≥

œ

.

≤

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

balance point spiccato

œ

.

œ

.

œ

≥

œ œ

.

≤

œ

.

≤

œ

.

≥

œ

.

≤

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

≥

œ œ

.

≤

œ

.

≤

œ

.

≥

œ

.

≤

œ

.

œ

.

&œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

3 3 3 3crawl

œ

≥

œ œ

.

≤

œ

.

œ

.

œ

.

œ

≤

œ œ

.

≥

œ

.

œ

.

œ

.

3 3 3 3

&œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

œ

.

middle

œ

≥

œ œ

.

≤

œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

≤

œ œ

.

≥

œ

.

≤

œ

.

œ

.

œ

.

œ

.

COLLÉ TO SPICCATO—Practice each note with a collé stroke and crawl the bow from the frog to the balance point. As you near the balance point, allow the natural spring of the bow stick to take over and transition to spiccato.

&b

4

4

œ.

≥

œ.

œ.

œ.

œ.

œ.

j

œ

œ

>

f

Allegro

œ.

≤

œ.

≤

œ.

œ.

œ.

œ.

j

œ

œ

>

œ

≤

.œ

≤

.

j

œ

œ

>

œ.

≤

œ.

≤

œ.

œ.

j

œ

œ

>

≥

j

œ

œ

>

≤

j

œ

œ

>

j

œ

œ

>

j

œ

œ

>

Œ Ó

PRACTICE SPICCATO NEAR THE FROG: LE CARNAVAL DES ANIMAUX—Practice playing spiccato near the frog to imitate the cackling of a hen.

Camille Saint-Saëns

& 4

4

œ

.

≥

œ

. œ

.

œ

.

œ

.

œ

. œ

.

œ#

.

Allegro con brio

F

œ

.

œ

. œ

.

œ#

.

œ

.

œ

. œ

.

œ#

.

cresc.

4 4

œ

.

œ

. œ

.

œ

.

œ

. œn

.

œ

.œ

.

œ. œ

.

œ

.œ

.

œ. œ

. œ

.

œ#

.

4

œŒ Ó

ƒ

SPICCATO NEAR THE BALANCE POINT: SYMPHONY NO. 1—Practice playing spiccato near the balance point.

Ludwig van Beethoven

&

#

4

4

œ

≥

œœn œ

œ œœ œ

Allegro

p

œ œœ œ

œn œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

4

œ

Œ Ó

SPICCATO NEAR THE MIDDLE: EINE KLEINE NACHTMUSIK—Practice playing spiccato near the middle of the bow. Keep the height of the bounce close to the string.

W. A. Mozart

&b

4

4œn

≥

.œb

≤

œn

≤.

œ

≥

.œb

≤

œn

≤.

ƒ

Finale: Allegro con fuoco

œn

≥

œ

≤

œ œ œ

≥

œœb œ

≤3 3œn

≥

.œb œn

.

œ .œb œn

.

œn

œ œ œ œœ

œb œœb œn

3 3 3

HOOKED BOWING AGAIN: SYMPHONY NO. 4—Practice stopping the bow after the dotted-eighth note to create a slight separation before the sixteenth note.

Piotr Ilyich Tchaikovsky

&

#

4

4œ

.

≥

œ

.

J

œ

≤

‰ œ

.

≥

œ

.

J

œ

≤

‰

Moderato

œ

.

≥

œ

.

œ

.

J

œ ‰ œ

.

≥

œ

.

œ

.

J

œ ‰

3 3

œ

.

≥

œ

.

œ

.

œ

.

J

œ ‰ œ

.

≥

œ

.

œ

.

œ

.

J

œ ‰ œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

.

J

œ ‰ œ

.

≥

œ

.

œ

.

œ

.

œ

.

œ

.

J

œ ‰

6 6

RICOCHET EXERCISE—Practice ricochet above the middle of the bow by dropping/throwing the bow on the string until the consecutive down bows bounce in a spiccato-like manner. As the notes get faster move slightly closer to the tip.

&

#

4

2..

.

.œ

≤

˘

œ

.

≥

œ

.

œ

.≤

œ

.

≥

œ

.

f

Allegro moderato

œ

.

œ

.

œ

.

œ

≤

.œ

≥

˘

œ.≤

œ.

œ.

œ.

œ.

œ.

œ. œ

.

œ

.

œ

.

œ

˘

J

œ ‰ Œ

RICOCHET: ESPAÑA CAÑÍ—Practice ricochet bowing by dropping/throwing the bow on the string. Start above the middle of the bow. Use a collé stroke for the up bows.

Pascual Marquina Narro

& 4

5..

œ

.

≥

œ

.

œ

.

œ

≤

œ

≥

œ œ œ

3col legno

Allegro

p

œ

.

≥

œ

.

œ

.

œ œ œ œ œ

3

œ

.

œ

.

œ

.

œ œ œ œ œ

3sim.

œ

.

œ

.

œ

.

œ œ œ œ œ

3

COL LEGNO: MARS—Practice col legno by turning the hair of the bow away from you and dropping the stick to create a percussive sound when the wood hits the string. Play the triplets with a ricochet stroke.

Gustav Holst

45

46

47

48

10

Martelé Double stops and chords Collé Spiccato Hooked, portato, ricochet,

and col legno bowings

Refinement of martelé, collé, spiccato, hooked bowing, portato, ricochet, and the col legno stroke is developed in exercises and excerpts. Double stops and chords are sequentially presented. Level 2 can be studied sequentially or as repertoire requires.

LEVEL 2

Sound Bowings

10

So

un

d D

ev

elo

pm

en

t Inte

rme

dia

teS

ou

nd

De

ve

lop

me

nt A

dv

an

ce

d

Level 3: Sound ShiftingPlaying in 6th and 7th Position: Using Pattern 3Check your fingering chart for the new finger placements.

& 4

4

˙

≥

˙

-1

3rd Pos.

˙b .œ

J

œ

-1

5th Pos.

˙.œ

J

œ

-1

6th Pos.

˙ .œ

J

œ ˙.œ

J

œ ˙.œ

J

œ ˙ .œ

J

œ ˙ ˙

PLAYING ON THE D STRING IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in 3rd, 5th, 6th, and 7th positions using thumb position.

& 4

4 ˙

≥˙

-1

3rd Pos.

˙ .œ

J

œ-1

5th Pos.

˙.œ

J

œ

-1

6th Pos.

˙ .œ

J

œ ˙.œ

J

œ ˙.œ

J

œ ˙ .œ

J

œ ˙ ˙

PLAYING ON THE A STRING IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in 3rd, 5th, 6th, and 7th positions using thumb position.

& 4

4

˙

≥

˙

-1

3rd Pos.

˙b .œ

j

œ

-1

5th Pos.

˙.œ

j

œ

-1

6th Pos.

˙ .œ

j

œ ˙.œb

j

œ ˙b.œ

j

œ ˙ .œ

j

œ ˙ ˙

PLAYING ON THE G STRING IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in 3rd, 5th, 6th, and 7th positions using thumb position.

& 4

4

˙≥

˙

-1

3rd Pos.

˙ .œ

J

œ-1

5th Pos.

˙.œ

J

œ

-1

6th Pos.

˙ .œ#

J

œ ˙#.œ

J

œ ˙.œ#

J

œ ˙# .œ

J

œ ˙ ˙

PLAYING ON THE C AND E STRINGS IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in 3rd, 5th, 6th, and 7th positions using thumb position.

& 4

4

˙

≥

˙

-1

3rd Pos.

˙b .œ

J

œ

-1

5th Pos.

˙ .œ

J

œ

-1

7th Pos.

˙.œ#

J

œ˙# .œ

J

œ˙ .œ#

J

œ˙#

.œ

J

œ˙

˙

PLAYING ON THE D STRING IN 7th POSITION—Violins and violas play in 3rd, 5th, and 7th positions. Cellos and basses play in 3rd, 5th, and 7th positions using thumb position.

& 4

4 ˙

≥˙

-1

3rd Pos.

˙ .œ

J

œ-1

5th Pos.

˙ .œ

J

œ

-1

7th Pos.

˙.œ#

J

œ˙# .œ

J

œ˙ .œ#

J

œ˙#

.œ

J

œ˙

˙

PLAYING ON THE A STRING IN 7th POSITION—Violins and violas play in 3rd, 5th, and 7th positions. Cellos and basses play in 3rd, 5th, and 7th positions using thumb position.

& 4

4

˙

≥

˙

-1

3rd Pos.

˙b .œ

j

œ

-1

5th Pos.

˙ .œ

j

œ

-1

7th Pos.

˙.œ

j

œ˙ .œ

J

œ˙ .œ

j

œ˙

.œ

j

œ˙

˙

PLAYING ON THE G STRING IN 7th POSITION—Violins and violas play in 3rd, 5th, and 7th positions. Cellos and basses play in 3rd, 5th, and 7th positions using thumb position.

& 4

4

˙≥

˙

-1

3rd Pos.

˙ .œ

J

œ-1

5th Pos.

˙ .œ#

J

œ

-1

7th Pos.

˙#.œ#

J

œ˙# .œ

J

œ˙ .œ#

J

œ#˙#

.œ#

J

œ˙#

˙

PLAYING ON THE C AND E STRINGS IN 7th POSITION—Violins and violas play in 3rd, 5th, and 7th positions. Cellos and basses play in 3rd, 5th, and 7th positions using thumb position.

84

85

86

87

88

89

90

91

17

Tenor clef, treble clef, 8va, and thumb position

Playing in 1/2, 2nd, 3rd, 4th, 5th, 6th, and 7th positions

Shifting technique is expanded using finger patterns. This level contains an extremely thorough unison presentation of 1st through 7th positions for all instruments, making it easy to teach and learn shifting in a heterogeneous class as well as a private studio. Thumb position, tenor clef, treble clef, and 8va are all introduced.

LEVEL 3

Sound Shifting

SI for STRINGS SOUND DEVELOPMENT ADVANCED FEATURES

11

So

un

d D

ev

elo

pm

en

t In

term

ed

iate

So

un

d D

ev

elo

pm

en

t A

dv

an

ce

d

Three-octave scales, arpeggios, and broken thirds are presented in all keys. The innovative format is flexible, allowing each section or player to play one, two, or three octaves while the ensemble plays the same or different octaves. Fingerings are idiomatic and carefully marked for each instrument.

LEVEL 4

Sound Scales and Arpeggios

Level 4: Sound Scales and ArpeggiosB Major(This is often required as an all-state audition scale)

Check your fingering chart for finger placements. Mark in the half steps as directed by your teacher.

?

b

b

4

4

œœ

œœ

2

1st Pos.

4 o x1A.

œœ

œœx2 4 o x1

œœ

œœ

B

1 x2 -1 2

3rd Pos.

B.œ

œœ

œ

&

4 -1 2 3

6th Pos.

&b

b

˙˙

3 -1C.

˙˙

2 -1˙

˙2 -1

˙˙

2 3

&b

b

˙˙

3 2D.˙

˙

1 -2˙

˙

1 -2˙

˙B

1

6th Pos.

-3

Bb

b

œœ

œœ

?

13 2 -4

3rd Pos.

E.œ

œœ

œ

2 1 -2 x1

1st Pos.

œœ

œœ

1 o 4 2F.

œœ

œœ

x1 o 4 2

B b MAJOR SCALE—Learn the third octave of the B b major scale.

?

b

b

4

4

œœ

œœ

œœ

œœ

B

2 x1 x2 x1

œœ

œœ

œœ

œœ

&

x2 -1-1

-1

œœ

œœ

œœ

œœ

-1 -1

&b

bœ

œœ

œ

œœ

œœ

B ?

-2 -2-3

-4 œœ

œœ

œœ

œœ

-2 x1x1

œœ

œÓ

B b MAJOR SCALE SLURRED TWO PER BOW—Play the B b major scale with two notes slurred per bow at Œ = 60.

?

b

b

4

4

œœ

œœ

œœ

œœ

2 x1 x2œ

œœ

œ

œœ

œœ

B

&

x1x2

-1 -1

œœ

œœ

œœ

œœ

-1 -1-1

&b

b

œœ

œœ

œœ

œœ

B

-2 -2-3 œ

œœ

œ

œœ

œœ

?

-4 -2 x1

œœ

œœ

œœ

œœ

x1

˙Ó

B b MAJOR SCALE SLURRED FOUR PER BOW—Play the B b major scale in a traditional pattern with four notes slurred per bow at Œ = 60.

?

b

b

4

2

œœ

2

1st Pos.

oA.

œ

œ2 x1œ

œ

B

1 -1

3rd Pos.

B.œ

œ4-1

Bb

b

˙

&

1C.˙

3 -̇13̇ 3̇

D.1̇

˙ B

-31̇

Bb

b

œ

œ

?

1-4

3rd Pos.

E.œ

œ

1 -1

1st Pos.

œ

œ

1 x2F.

œœ

o 2

B b MAJOR ARPEGGIO—Learn the third octave of the B b major arpeggio.

221

222

223

52

FEATURES SOUND DEVELOPMENT ADVANCED SI for STRINGS

STRINGS

SOUNDINNOVATIONS

™

for STRING ORCHESTRA

WHICH LEVEL IS RIGHT FOR YOU?

For more information contact sales@devirra.com or 02 8707 3650

ALSO AVAILABLE FOR CONCERT BAND AND GUITAR

AUSTRALIAN EDITION!

AUSTRALIAN EDITION!

BOOK 1The flagship of Sound Innovations, Book 1 comes in several different editions. Each student book includes an instrument-specific DVD and MP3 CD. Organized into six short levels, Book 1 has clean page layouts, clear goals for each exercise.

BOOK 2Continue your students’ musical journey with Sound Innovations for Strings, Book 2 where new concepts are isolated and taught individually for better retention. Ensemble playing is introduced, and plenty of practice performance opportunities are provided throughout the book. The student book includes an instrument-family-specific DVD and MP3 CD.

SOUND DEVELOPMENT FOR INTERMEDIATE ORCHESTRATeach your students to play with a characteristic beautiful sound with Sound Innovations: Sound Development for Intermediate String Orchestra. Components are broken down into four levels: (1) Sound Tone, (2) Sound Bowings, (3) Sound Shifting, and (4) Sound Scales, Arpeggios, Chorales, and Rhythms. Use this text with or after any method in a classroom or individual setting.

SOUND DEVELOPMENT FOR ADVANCED ORCHESTRAContinuing with the emphasis on playing with a beautiful sound, this level focuses on three-octave scales, especially those needed for regional auditions and all-states. The four levels, (1) Sound Tone, (2) Sound Bowings, (3) Sound Shifting, and (4) Sound Scales and Arpeggios, can be used in the order that is best for your students. Use this text with or after any method in a classroom or individual setting.