Strings
sound
™
innovations for String Orchestra BROCHURE & Sampler
si for strings method Overview
Authors The Sound Innovations authors bring years of extensive teaching, conducting, and composing experience.
Bob Phillips Pedagogue, composer, teacher trainer and lead author of SI for String Orchestra, Phillips is renowned as a leader in string education. During his 27 years teaching strings and winds in Michigan, Phillips built a thriving orchestra program that was a national model of excellence. A recognised expert in the use of large-group pedagogy, he has presented clinics throughout the nation and around the world. Phillips has authored over 50 books for use in the string classroom, including the groundbreaking Philharmonic series, and has had over 75 works published for student ensembles. His conducting resume includes professional, all-state, and youth orchestras, and he currently serves as Director of String Publications for Alfred Music and President of the American String Teachers Association.
Robert Sheldon Well-known composer/music educator and lead author of SI for Band, Robert Sheldon has taught band and orchestra in the Florida and Illinois public schools, was conductor of the Alachua County Youth Orchestra, and has served on the faculty at Florida State University. As the Alfred Music Concert Band Editor, he maintains active composing and conducting schedules, and regularly accepts commissions for new works. An internationally recognised clinician, Sheldon has conducted numerous Regional Festivals and All-States throughout the United States and abroad.
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Peter Boonshaft Hailed as one of the most exciting and exhilarating voices in music education today, Peter Boonshaft has been a guest clinician all over the world. He is the author of the critically acclaimed books Teaching Music with Passion, Teaching Music with Purpose, and Teaching Music with Promise. Having taught for 29 years, he is currently on the faculty of Hofstra University in Hempstead, New York. Dr. Boonshaft has received honors from political leaders around the world and has been selected three times as a National Endowment for the Arts “Artist in Residence.�
Dr. Kirk D. Moss A recognised leader, Dr. Kirk D. Moss holds an appointment as an Associate Professor of Music and Chair of the Music Education Department at the Lawrence University Conservatory of Music in Appleton, WI. He is a past national president of the American String Teachers Association and has appeared as a guest conductor, clinician, or adjudicator in more than thirty states. The University of Florida School of Music awarded him an Alumni Outstanding Achievement Award, and he has received four ASTA National Citation for Leadership & Merit awards. With 12 years of experience teaching elementary, middle, and high school orchestras, school orchestras under his direction earned distinction at state, national, and international events. One of his former high schools honors him by annually awarding a college string scholarship in his name.
method Overview si for strings
™
Revolutionary Methods for Musicians Sound Innovations for String Orchestra is a revolutionary method that combines time-tested educational concepts, input from thousands of teachers, and advances in modern technology. Using solid pedagogy that follows music education standards.
Method Features No matter what level you’re working through, all Sound Innovations books feature the following: S olid pedagogy written to comply with state and national music education standards Straightforward approach to introducing and reinforcing concepts Availability in SmartMusic
ontent organised in levels to provide benchmarks C and intermediate goals Many performance opportunities, including solos, duets, and orchestra arrangements Clean, clear, and uncluttered page layout Introduction to various musical styles
WHICH LEVEL IS RIGHT FOR YOU? BOOK 1 Great for beginners Pages 4–11
BOOK 2
SOUND DEVELOPMENT FOR INTERMEDIATE ORCHESTRA
SOUND DEVELOPMENT FOR ADVANCED ORCHESTRA Ideal for High School Pages 24–29
Perfect for lower High School Pages 19–23
Flexible follow-up for any beginning method Pages 12–18
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si for strings book 1 introduction
™ Book 1
A Revolutionary Method for Beginning Musicians Sound Innovations for String Orchestra, Book 1 breaks the material down into six levels while using a modern, clean page layout. Pages have been left uncluttered and goals clearly defined in order to allow students to easily identify and focus on important concepts. All rhythms are introduced with subdivided counting and a reinforcement exercise.
Sound Innovations, Book 1 is available at your local retailer. It contains the pedagogical choices that most teachers
Book 2
preferred when asked in focus groups.
Features Book 3
E ach student book includes an instrument-specific DVD and MP3 CD T eacher’s Score is available as book only or with a complete resource library of student CDs and DVDs A vailable in SmartMusic
A ustralian voice on CD instructions with Australian tunes B ritish notation and English spelling
Book 4
“
C lean, clear page layouts and clear identification of goals P erformance opportunities to reinforce new concepts E ach correlated performance music piece contains an educational pack that includes composition notes, historical information, and more S ound Advice sections throughout the Teacher’s Score assist with quick and easy-to-use tips and suggestions S tudent books are available on iBooks
The biggest help [for learning how to hold the cello bow] was actually the Sound Innovations DVD. After watching Section 1, something just magically clicked where I realized that my whole hand needed to be draped deeper onto the bow… The visual of the cellist’s fingers touching the bottom of the frog did wonders for my mental conception of how my right hand should be shaped. Mya Hunt Music Education Major Lawrence University
“
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Features book 1 si for strings
Instrument-specific Master Classes on DVD are included with every student book so that the student can learn to emulate the teacher’s tone, technique, and musicianship. Unlike most method books, these DVDs are referenced throughout the book to teach beginning and more advanced techniques. Each DVD addresses: I nstrument set-up and care L eft-hand set-up I ntroduction of notes on all strings R ight-hand set-up B ow placement and movement P roducing a good sound
Plus, more advanced techniques, such as: H ooked and slurred bowings D ynamics D ouble stops
Book 1
Instrument-Specific DVD
Final Solo
Book 2
The DVD closes with a performance of the final solo from the book to provide inspiration and modeling of a high level of musicianship.
Book 3
DVD DVD referenced throughout the book teaches beginning and more advanced techniques.
Scan to view a clip of the bass Master Class DVD alfred.com/sistrings1dvd
Book 4
Instrument-Specific CD Recorded accompaniments are included in MP3 format for every line of music in each book. The recordings are performed by a professional musician, and each contains an example and play-along accompaniment track in a variety of musical styles, including classical, bluegrass, Latin, and more. Each CD includes: L ive, instrument-specific recording of the melody for each line of the book P lay-along track without the melody for each line of the book I nstrument-specific acoustic recording of a tuning note for each string C lick-off for each recording S I Player with Tempo Change Technology, allowing students to speed up or slow down the tempo to suit their practice needs
Track Numbers
Track numbers correlate to the exercise numbers in each book.
Scan to listen to a clip of the bass MP3 CD alfred.com/sistrings1cd
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si for strings book 1 Features
Clean, clear page layouts SI for Strings presents lessons in a modern and clean page layout. Pages have been left uncluttered to allow students to easily identify and focus on important concepts.
Note Introduction
Book 1
Each new note is introduced with a diagram of the fingering position, eliminating the need to reference a separate page. New notes include an introductory exercise followed by a reinforcement exercise. Notes are introduced in a logical order with many opportunities for the student to implement and practice them.
Book 2 Goals Every exercise includes a brief statement identifying what the student should learn.
Book 3 Counting All rhythms are introduced with subdivided counting and a reinforcement exercise. Graphics are used to explain the concept of silence, which makes it easier for students to understand.
Book 4 Supportive Elements SI for Strings provides aids to teaching tone production throughout the book. Both the graphics and the DVD illustrate levels of the bow, bowing lanes, and string crossings.
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Features book 1 si for strings
Clear Beginnings
Book 1
• Holding the instrument • Guitar position • Shoulder position • Playing pizzicato • Learning finger numbers
Book 2
This page should be used in conjunction with the included DVD.
Glossary
Book 4
Book 3
A glossary of terms is also included in the back of the book for easy reference.
Full-Length Solo SI for Strings includes many performance opportunities such as solos, duets, and orchestra arrangements, including a full-length solo at the end of the book. A demonstration is included on the Master Class DVD, as well as examples and play-along recordings on the student CD. Accompaniment A piano accompaniment included on the page allows a family member or friend to accompany the student, encouraging music outside the classroom.
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si for strings book 1 Features
Left-Hand Set-Up SI for Strings is full of illustrations and directions that provide sequential and gradual introduction of skills. Book 1 Diagrams
Book 2
Great left-hand diagrams are reinforced with close-ups on the DVD. Each new note has a very clear finger illustration immediately preceding the music.
Fingering Chart SI for Strings includes a proportional, visually clear fingering chart.
Book 3
Right-Hand Set-Up In SI for Strings, the bow is introduced with clear, progressive illustrations. DVD Demonstrations Sequential bow-hold development is reinforced with a detailed demonstration on the DVD.
Book 4 Play-Along DVD In SI for Strings, crucial skills are carefully demonstrated on the DVD in a format that allows the student to play along.
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Features book 1 si for strings
Performance Music Series
ABOUT THE PIECE Rigaudon was written by Henry Purcell (1659–1695) and was arranged by Bob Phillips. During the Baroque period in music composers often wrote music based on dance forms. The rigaudon was a French dance in or time and is usually a simple dance that contains regular phrases. Dance movements were often organized in suites during the Baroque period of music. Each dance was a movement of a larger suite of dances. SUGGESTED LISTENING Rigaudon at www.alfred.com/downloads, as well as music of the following composers: Henry Purcell, George Friderich Handel, and Johann Sebastian Bach. ABOUT THE COMPOSER Henry Purcell (1659–1695) was born in Westminster, England. Purcell wrote music as a child as early as 9 years old. One of his earliest jobs was as a music copyist at Westminster Abby in 1676. During his lifetime he wrote both sacred and secular music. He is one of England’s most famous composers. Some of his works include the opera Dido and Aeneas, music for the theater, such as The Fairy Queen, as well as many odes and anthems. ABOUT THE ARRANGER
FORM AND ANALYSIS OF RIGAUDON G
Allegro
œ
œ
# ≥ œ & 44 œ œ p
Theme 2
œ
˙.
≤ œ œ œ
Allegro
≥ & 44 œ œ œ œ
œ
œ
œ
œ
≥ œœœœœœ
œ
œ
œ
˙
˙
œ
≥ ˙. Œ
œ
≥ ˙ ˙
˙.
Œ
˙.
Œ
≥ œœœŒ
≥ ˙. œ
Technical and Expressive Elements
The piece starts with the melody being played by the 1st violins, 2nd violins and violas in harmony. It should be played smoothly with a slight attack in the bow. The opening section should sound regal and royal.
Assessment
SCALES AND ARPEGGIOS
# 4 ≥ œ œ evaluation. & level 4 œ œor peer œ œ The Sound Check boxes provide assessment rubrics at the end of each œ œ œ œ œ œ self, œ œforœ teacher, 9–16
G
The melody is restated in typical Baroque style with a softer dynamic for contrast.
17–24
G
The second part of the melody should be played with a little separation after the quarter notes. The dynamic is marked piano and helps define this section as a contrast to the opening regal statement. This section should sound more dance-like.
25–32
G
The restatement of the second part of the melody is played in the violas and cellos and handed off to the violins to create a cascading change in timbre.
33–40
G
This section is a repeat of the opening.
41–48
G
The second part of the melody opens very strongly in the violins and violas and concludes the piece in a forte dynamic with a dramatic ritardando in the last two measures.
TERMINOLOGY FOUND IN RIGAUDON
f F p
Allegro
A fast tempo Forte, played loud and strong Mezzo-forte, played medium loud Piano, played quietly
Composition Slur
≤ ≥
Staccato
Play with separation
Ritardando
Gradually slow down
Move the bow to the left Move the bow to the right
Play on the same bow
Can you find examples of these terms and symbols in your part? (Not every player has all of these on their music.)
G Major Scale - Lower octave.
# ≥ & 44 œ
G Major Scale - Upper octave.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
COMPOSITION
# ≥ & 44 œ f
Compose a new ending to this phrase
œ
œ
œ
˙.
œ
IMPROVISATION
Students are asked to write their own variation of familiar tunes in composition lessons. ≥ ≤ The purchase of this piece carries with it the right to photocopy this part for use by your orchestra. NOT FOR RESALE
œ
œ
œ
Book 3
Key
# ≥ & 44 œ f
Theme 1
Improvisation means to create or perform music without preparation. Improvise a new ending to this phrase.
# & 44 œ œ œ f
œ œ œ
œ
œ
œ
œ
The purchase of this piece carries with it the right to photocopy this part for use by your orchestra. NOT FOR RESALE
Book 4
1–8
IMPORTANT THEMES AND MELODIES
IMPORTANT OR CHALLENGING RHYTHMS
Bob Phillips (b. 1953) is the Director of String Publications for Alfred Music Publishing Company. As an internationally recognized clinician he has presented clinics and conducted throughout the United States and abroad. For more information visit his website: www.phillipsfiddlers.com. Measure
2
RIGAUDON – EDUCATIONAL PACK – VIOLIN
Book 2
1
RIGAUDON – EDUCATIONAL PACK – VIOLIN
Book 1
Our performance music catalogue includes the Sound Innovations series. Each of the correlated performance pieces includes an educational pack for the teacher that contains reproducible pages for the students and curricular material for the teacher. Available for all instruments, each educational pack is written by the composer of the piece and includes notes on the composition, historical information, exercises to help with specific technical issues, pedagogy, and performance suggestions.
Improvisation Students are encouraged to improvise in various styles.
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si for strings book 1 Features
Available on iBooks for iPad and Mac Book 1
Sound Innovations student books are now available on iBooks®! For schools on the cutting edge of technology or for students who prefer to use an iPad® for practice or class rehearsal, audio and video are fully integrated for ease-of-use. Multi-touch books can be purchased on iBooks and read on iPad and Mac®, making them ideal for classroom use.
Book 2
This Multi-Touch Method Features: Interactive diagrams Full-screen video demonstrations Ability to take notes, highlight text, and create flash cards Authentic-sounding backing tracks and full performances And much more!
SmartMusic The entire method is available in SmartMusic.
New to SmartMusic?
Book 3
SmartMusic transforms the way students practice and learn. As they play along with music onscreen, it gives students immediate feedback on their performance by showing correct pitches and rhythms in green and incorrect in red. They also are able to hear their part in context with a full ensemble. With SmartMusic, you have the ability to create and send assignments to each of your students. You can easily follow, document, and grade their progress, allowing for individualised instruction for each student.
Now available on iPad®!
Book 4
Finale 2014: Own the Future Now More Flexible and Easier to Use From the same great creators of SmartMusic, Finale enhances your program by offering easy, flexible tools that help produce personalised curriculum quickly.
Enjoy: ,500 customisable worksheets, flashcards, and pieces of repertoire 1 Expanded linked parts Improved accidentals and rests
And don’t forget:
Only Finale can create accompaniments that work seamlessly with SmartMusic!
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skill chart book 1 si for strings
Introductory Pages
Œ
Œ
Sound Beginnings (Level 1)
Sound Fundamentals (Level 2)
„
◊
Ó
Sound Musicianship (Level 3)
Sound Techniques (Level 4)
Sound Performance (Level 6)
‰
‰
Ó.
Rhythms
Sound Development (Level 5)
Book 1
Book 1 Skill Chart
Œ.
c
Tie Pickup Arpeggio
Key of C Major
Major Keys
D Major Scale
Chord
C Major Scale
Minor Keys
Half Step
Chromatics
Whole Step
Courtesy Accidentals
&
Pentatonic Scale
Book 2
Left-Hand Technique
˜ ¯ Î
Key of D Major
Key of G Major
Ledger Line
G Major Scale Left-Hand Pizzicato Arco
,
≥ ≤ Right-Hand Technique
Slur
Double Stops
Hooked Bowing Using Different Parts of the Bow
Book 3
Pizzicato (page 3)
Bow Hold Placing the Bow Bowing Lanes Moving the Bow Levels of the Bow String Crossings Bow Speed
1st & 2nd Endings Sequence & Tempo
D.C. al Fine
Rallentando
Fine
Ritardando
Book 4
U
Rehearsal Marks
Andante Moderato Allegro Theme
Round Harmony
Style
Duet Staccato
f
F p
f- p
Orchestra Arrangment Solo
Improvisation
Tenuto Legato
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si for strings book 2 introduction
™ Book 1
A Revolutionary Method for Early-Intermediate Musicians
Book 2
Sound Innovations for String Orchestra, Book 2 continues your students’ musical journey by teaching with segmented presentation of new concepts and further skill development. Isolating concepts and teaching them individually helps facilitate understanding of the more advanced material. Continuing the unique Sound Innovations structure, the book contains four levels, each of which are divided into several sections that introduce concepts separately and provide plenty of practice and performance opportunities to reinforce each lesson.
Book 3
Features E ach student book includes an instrument-family-specific DVD and MP3 CD A vailable in SmartMusic
C omprehensive review of Book 1 C lean, clear page layout and clear identification of goals P erformance opportunities to teach ensemble playing and reinforce new concepts
A ustralian voice on CD instructions with Australian tunes B ritish notation and English spelling
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“
Book 4
“
This is the second year we are using [Sound Innovations] and getting outstanding results. All of our teachers agree that that the design, pacing, and layout of the book are superior to any other books we have tried. I have been teaching since 1982 and I have never had more fun teaching beginners. The book really seems to motivate kids to practice. Joseph W. Nebistinsky Fine and Performing Arts Chair Northern York County School District Dillsburg, PA
Book 1 Book 2
Guided by co-author Bob Phillips, the DVD included with each student book features individual instrument and ensemble-specific lessons demonstrated by a string ensemble. These master classes are presented by professional musicians and serve as a private lesson.
Scan to view a clip of the strings Master Class DVD alfred.com/sistrings2dvd
Book 3
DVD
CD
The MP3 CD demonstrates every line of music in the book, with a different instrument performing the melody for each line. The tuning notes and solo performance pieces are instrument-specific. Students will learn blending and balancing as they play along with other instruments in the orchestra. A play-along accompaniment track allows for additional practice, along with the SI Player with Tempo Change Technology.
Scan to listen to a clip of the strings MP3 CD
Book 4
alfred.com/sistrings2cd
Track Numbers
correlate to the exercise numbers in each book.
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si for strings book 2 features
Level 1
Sound Review Book 1
This level is a complete review of Sound Innovations, Book 1 using tunes as reinforcement. Beginning with a review of instrument set-up, all major terms, skills, and concepts are covered in seven pages leading into the introduction of new material. This is especially useful when new students come in from other classes or methods, and after the summer break. The DVDs from Book 1 can also provide a great review at home.
Book 2 Book 3 Book 4 14 14
features book 2 si for strings
Level 2
Level 2 is divided into four sections that feature the keys containing sharps, the keys containing flats, duple rhythms, and triple rhythms. By isolating the introduction of these very different concepts, students learn the necessary skills with less distraction. When new notes are introduced, the rhythms used are all from Book 1 and, conversely, when new rhythms are introduced, the notes used are all from Book 1.
Book 1
Sound Keys and Rhythms
Duple rhythms • • • Book 2
• • Syncopation •C
Sharp keys • A Major • D Major • E minor • B minor • A minor
Book 3
Triple rhythms • • time Flat keys • F Major •B b Major
• D minor • G minor
Book 4
• A minor
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si for strings book 2 features
Level 3
Sound Techniques Book 1
This level is divided into seven sections that teach more advanced performance techniques with plenty of exercise pages to reinforce them. Tone
Separated bow strokes
Sight-reading
• Placement & weight
• Detaché
Introduction to shifting
Swing rhythms
• Speed
• Staccato
Introduction to vibrato
Major & minor scales & arpeggios
• Martelé • Spiccato • Tremolo Book 2 Book 3 Book 4 16
Harmonics
features book 2 si for strings
Level 4
Sound Performance
Mixing sharp keys & duple rhythms
Trio
Mixing flat keys & duple rhythms
String orchestra arrangement
Mixing sharp keys & triple rhythms
Solo
Mixing flat keys & triple rhythms
Glossary
Mixing meters & mixing keys
Fingering chart
Book 1
The last section provides performance repertoire and functions as an appendix. It also contains pages you may want to use throughout the year to assist in presenting and reinforcing concepts. Includes solos, duets, trios, and orchestra arrangements.
Book 4
Book 3
Book 2
Duet with sound ensemble tips
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si for strings book 2 skill chart
Book 2 Skill Chart Book 1
Quavers
Book 2 Book 3 Book 4 18
introduction Sound development intermediate si for strings
Book 1
™
SOUND DEVELOPMENT
Warm-up Exercises for Tone and Technique
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, sightreading materials, rhythm exercises, and warm-up chorales. Video demonstrations of key skills are indicated throughout the book and available online at alfred.com/sounddevelopmentvideo.
alfred.com/sdintstringsdvd
T echnical development in a clear, concise yet thorough manner S kills defined and sequenced into learning routines T he 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
Book 4
Features
“
Book 3
Scan to view a Sound Development Intermediate video
Book 2
INTERMEDIATE STRING ORCHESTRA
The Sound Tone and Sound Bowings sections give me a focused way to review and develop the use of the bow with language that makes sense to the kids. I love the way the scale section is set up—it gives me a way to individualize scales (either one or two octaves, depending on skill level) in mixed-instrument and mixed-ability classes. Dawn Gaylord Middle School Strings Teacher Beaver Dam, Wisconsin
“
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si for strings Sound development intermediate features
Level 1
Sound Tone Book 1
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.
Book 2 Book 3 Book 4 20
Bowing lanes Bow weight Bow speed Bow division Repertoire for practice
features Sound development intermediate si for strings
Level 2
Detaché
Martelé
Tremolo
Collé
Staccato
Spiccato
Staccato hooks
Chop
Book 2
Repertoire for practice
Book 3
Legato hooks
Book 4
A performer’s right-hand technique is often called the string player’s voice. This level will help your students develop that voice with sounddriven 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.
Book 1
Sound Bowings
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si for strings Sound development intermediate features
Level 3
Sound Shifting Book 1
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 fingerpattern 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.
Book 2 Book 3 Book 4 22
Finger pattern logic
Shifting exercises
Natural harmonics
Repertoire for practice
Transport/guide notes
More vibrato
Clearly marked fingerings
Fingering chart
features Sound development intermediate si for strings
Level 4
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. Harmonised 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. Two-octave scales and arpeggios
Bowing variations
Sight-reading training
Major and minor keys
Harmonised and drone accompaniments
Counting rhythms Book 2
Two sets of fingerings for every scale
Four-part chorales
Book 3
Broken thirds
Finger-action exercises
Book 4
Key signatures through 3 sharps and 3 flats
Book 1
Scales, Arpeggios, Chorales, & Rhythms
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si for strings Sound development advanced introduction
™ Book 1
SOUND DEVELOPMENT
Warm-up Excercises for Tone and Technique
ADVANCED STRING ORCHESTRA
Book 2
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.
Scan to view a Sound Development Advanced video alfred.com/sdadvstringsvideo
P erfect reference book for scales and arpeggios V aluable resources for state and festival auditions T echnical development in a clear, concise, yet thorough manner S kills defined and sequenced into learning routines T he Sound Innovations revolutionary clear and uncluttered layout A vailable in SmartMusic
Book 4
“
F ocus on improving sound with bowing lanes, bow weight, bow speed, shifting, and vibrato F urther develops the innovative, flexible, and easy-to-teach format for scales, including a pedagogically sound approach to introduce the third octave S upplemental Master Class video clips available online to demonstrate necessary skills
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 Sholl Director of Orchestras, Music Coordinator Hilliard, Ohio
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“
Book 3
Features
features Sound development advanced si for strings
Level 1
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.
Bowing lanes Bowing weight
Book 1
Sound Tone
Bow speed Chorales
2
Level 1: Sound Tone
Bowing Lanes
View video (Bowing Lanes) at alfred.com/SoundDevelopmentVideo
Mezzo Piano Lane G D A E
3
4
≤ œ œ ˙ P
≥ ˙ f
7
CHANGING BOWING LANES—Move your bow to the new bowing lane during each dynamic change.
≤ œ œ œœœœ˙ p
, ≥ Œ œœœœœœœœœ Œ pp
˙. ƒ
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.
≤ & 44 w pp
w
w≥
w
ƒ
p
9
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.
4 #4 ≥ & 4 œ ˙ œ œ œ œ œ œ œ œ. ˙ œ œ œ P p 4 , ≥ 4 # #˙ #˙ Œ œ œ & œ œ œ #œ ˙ œ œ œ œ F f F f
Andante doloroso
≤ ˙ ˙ œ œ œ œ pp >œ # >œ > >œ >œ 4 o œ #œ ˙ Œ > > ƒ
‰
Edvard Grieg
10
# ≥ & # 43 œ œ # œ œ œœ œœ n œ œ œœ œœ œœ œœ # œ œ œœ œœ œœ # œ œ œœ œœ n œ œ œœ œœ œœ œœ # œ œ œœ œœ ˙ . pp
WHOLE BOW EXER
Lento
# ≥ & 44 œ œ œ p # & œ œ œ œ p frog
SUL TASTO: SYMPHONY NO. 8—Sul tasto indicates to play over the fingerboard. Place your bow over the end of the fingerboard and use 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.
Allegro moderato sul tasto
5
8
Book 4
2
≥ 4 &4 œ œ ˙ F
Mezzo Forte Lane Forte Lane
Book 3
Fortissimo Lane
1
6
Piano Lane Pianissimo Lane
Book 2
A BOWING LANE is the area between the fingerboard and bridge where the bow is placed:
Franz Schubert
11
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. Adagio ma non troppo
4 ≥ œœœœ œ œ œœœœœ œ œ 4 œ œ œ œ œ œ œ œ #œ œ œ N˙ &b4 œ œ œ œ œ œ œ œ f sul ponticello
Joseph Haydn
Ó
25
si for strings Sound development advanced features
Level 2
Sound Bowings Book 1
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.
10
Level 2: Sound Bowings
Book 2
Spiccato
View video (Spiccato) at alfred.com/SoundDevelopmentVideo
18_G1 Spiccato
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.
SPICCATO BOW PLACEMENTS (near frog)
45
(near balance point)
Book 3
≥ ≤ &œ œ œ œ . . . . crawl ≥ 3 &œ œ œ . . . middle ≥ &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 ≥ 3 ≤ 3 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. spiccato
≥ ≤ ≤ ≥ ≤ œ œ œ. œ. œ. œ. œ. œ. ≤ 3 ≥ 3 œ œ œ. œ. œ. œ. ≤ ≥ ≤ œ œ œ. œ. œ. œ. œ. œ.
Book 4
PRACTICE SPICCATO NEAR THE FROG: LE CARNAVAL DES ANIMAUX—Practice playing spiccato near the frog to imitate the cackling of a hen.
> ≤≤ > ≤≤ > ≤≤ 4≥ & b 4 œ. œ. œ. œ. œ. œ. œj œ œ. œ. œ. œ. œ. œ. œj œ œ. œ. œj œ œ. œ. œ. œ. f Allegro
>≥ >≤ > > jœ jœ jœ jœ
œ
œ
œ
œ
> jœ Œ Ó œ
Camille Saint-Saëns
SPICCATO NEAR THE BALANCE POINT: SYMPHONY NO. 1—Practice playing spiccato near the balance point.
Ludwig van Beethoven
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.
4 #4 ≥ Œ Ó & 4 œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ p
Allegro
26
HOOKED BOWING AGAIN SYMPHONY NO. 4—Practic
Finale: Allegro con fu
≥ ≤ ≤. ≥ & b 44 n œ b œ . n œ œ b ƒ
RICOCHET EXERCISE—Pr do Moderato
# 4 ≥. . ≤ ≥. . ≤ & 4 œ œ œJ ‰ œ œ œJ ‰
RICOCHET: ESPAÑA CAÑ
4 4 4 4 ≥ œ œ Œ Ó &4 œ œ œ. œ. œ œ. œ. n œ. œ. œ. œ. œ. . œ. . œ. œ. # œ. œ œ œ # œ œ œ œ œ # œ # œ œ œ . . . . . œ œ . . . . . . . ƒ . . . F œ. . cresc.
Allegro con brio
48
(near middle of bow)
≥r r r r ≤r ≤r ≤r ≤r ≥ 3 ≤ ≥3j ≤ 3 ≥ ≤3j ≥ 3 ≤ ≥3j ≤ 3 ≥ ≤3j 4 & 4 œ ‰. œ ‰. œ ‰. œ ‰. œ ‰. œ ‰. œ ‰. œ ‰. œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ . . . . . . . . . . . . . . . . P. . . . balance point
47
≥ œœœœœœœœ
or
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. Moderato sim. frog collé crawl
,≥ ,≥ ,≥
46
4≥ &4 œ œ œ œ œ œ œ œ . . . . . . . .
W. A. Mozart
≤ # 2 . ˘ ≥. . .≤ œ & 4 . œœœ f Allegro moderato
COL LEGNO: MARS—Pract sound Allegro
≥ 3 ≤ ≥ & 45 œ. œ. œ. œ œ œ p col legno
features Sound development advanced si for strings
Level 3
Sound Shifting Tenor clef, treble clef, 8va, and thumb position Playing in 1/2, 2nd, 3rd, 4th, 5th, 6th, and 7th positions
Level 3: Sound Shifting
Book 1
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.
17
86
87
88
PLAYING ON THE D STRING IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in 3rd, -1 5th, 6th, and 7th positions using thumb position. -1 -1
≥ & 44 ˙ ˙ 3rd Pos.
≥˙ ˙ & 44
3rd Pos.
& 44
≥ ˙ ˙
œ. œ ˙ œ. œ ˙ œ. œ ˙ ˙ ˙ œ . œ ˙ œ . œJ ˙ œ . œJ ˙ J J J J 5th Pos.
6th Pos.
3rd Pos.
j b œ . œj b ˙ œ j ˙ j j . œ œ . œj ˙ ˙ b˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 5th Pos.
6th Pos.
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 œ. œ ˙ #œ. œ #˙ œ. œ ˙ ˙ ˙ œ. œ ˙ œ. œ ˙ #œ. œ #˙ J J J J J J
-1
-1
3rd Pos.
5th Pos.
6th Pos.
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. -1 -1 -1
3rd Pos.
œ. œ ˙ #œ. œ #˙ œ. œ ˙ ˙ . b ˙ œ . œ ˙ œ . Jœ ˙ # œ œJ # ˙ J J J J 5th Pos.
7th Pos.
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.
≥ ˙ & 44 ˙
3rd Pos.
-1 œ. œ ˙ #œ. œ #˙ œ. œ ˙ ˙ . ˙ œ . œ ˙ œ . œJ ˙ # œ Jœ # ˙ J J J J
-1
5th Pos.
7th Pos.
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. -1 -1 -1
≥ & 44 ˙ ˙
3rd Pos.
91
6th Pos.
PLAYING ON THE G STRING IN 6th POSITION—Violins and violas play in 3rd, 5th, and 6th positions. Cellos and basses play in -1 3rd, 5th, 6th, and 7th positions using thumb position. -1 -1
-1
90
5th Pos.
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. -1 -1 -1
≥ & 44 ˙ ˙
89
œ. œ ˙ œ. œ ˙ œ. œ ˙ ˙ b ˙ œ . œ ˙ œ . œJ ˙ œ . œJ ˙ J J J J
Book 3
85
Check your fingering chart for the new finger placements.
Book 4
84
Book 2
Playing in 6th and 7th Position: Using Pattern 3
j j œ . œ ˙ œ . œj ˙ œ . œj ˙ ˙ . j b˙ œ. œ ˙ œ. œ ˙ œ œ ˙ J 5th Pos.
7th Pos.
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.
≥˙ ˙ 4 &4
-1 #œ. œ #˙ œ. œ ˙ #œ. #œ #˙ #œ. œ #˙ ˙ ˙ œ. œ ˙ #œ. œ #˙ J J J J J J
-1
-1
3rd Pos.
5th Pos.
7th Pos.
27
si for strings Sound development advanced features
Level 4
Sound Scales and Arpeggios Book 1
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.
52
Level 4: Sound Scales and Arpeggios
B b MAJOR ARPEGGIO—
B Major
? b b 42 œ
A.
(This is often required as an all-state audition scale)
Book 2
Check your fingering chart for finger placements. Mark in the half steps as directed by your teacher.
221
B b MAJOR SCALE—Learn the third octave of the B b major scale.
œ œ œ œ
? b b 44 œ œ œ œ
A.
4
2
o
x1
x2
1st Pos.
b &b ˙
C.
D.
Book 3
&
3
3 bb ˙
œ3 B bb
œ2
E.
222
˙
˙
˙2
˙1
-1
œ1
2
œ
-4
?
3rd Pos.
4
x2
œ2
œ
-1
B
œ
œ4
-1
3rd Pos.
˙
˙
˙
˙1
-2
˙
˙
˙
-2
&
B bb
E.
˙
B
-3
1
6th Pos.
œ2 œ1 -2œ x1œ
œ œo œ4 œ2
F. 1
1st Pos.
œ œ œ œ
x1
o
x1
x2
-4 œ bb œ œ -2œ œ B œ œ œ & -3
Book 4
?
&
4
2
-1 -1 œ œ œ œ œ œ œ œ
œ œ -2œ x1œ œ œ œ x1œ œ œ œ
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.
-1 2 x1 x1 -1 ? b b 44 œ œ œ œ œ œ œ x2œ œ œ œ œ B œ œ œ œ x2
&
-1 œ œ œ œ œ œ œ œ -1
x1 -4 -2 -2 x1 bb œ œ œ œ œ œ œ -3œ B œ œ œ œ ? œ œ œ œ œ œ œ œ œœœœ ˙ & -2
B bb
C.
˙3
˙2
-1 -1 x1 œ œ œ x2 -1 œ œ œ œ œ ? b b 44 œ œ œ œ œ œ B œ œ -2
28
œ3
œ2
6th Pos.
-1
2
-1
o
1st Pos.
B b MAJOR SCALE SLURRED TWO PER BOW—Play the B b major scale with two notes slurred per bow at Œ = 60.
2
223
œ
œ
B. 1
x1
o
œ
2
-1
Ó
˙1 œ1
&
˙3 œ
-4
3rd
Also available: si for guitar
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Features
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Strings
sound
™
innovations for string orchestra
WHICH LEVEL IS RIGHT FOR YOU? BOOK 1
BOOK 2
SOUND DEVELOPMENT FOR INTERMEDIATE ORCHESTRA
SOUND DEVELOPMENT FOR ADVANCED ORCHESTRA
The flagship of Sound Innovations, Book 1. Each student book includes an instrumentspecific DVD and MP3 CD. Organised into six short levels, Book 1 has clean page layouts and clear goals for each exercise.
Continue 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.
Teach 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.
Also Available for
Concert Band and Guitar
Sound Innovations for String Orchestra - Book 1
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Sound Innovations for String Orchestra - Book 2
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Continuing with the emphasis on playing with a beautiful sound, this level focuses on three-octave scales, especially those needed for auditions and exams. 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.
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