STRINGS
SOUND
™
INNOVATIONS for STRING ORCHESTRA BROCHURE & SAMPLER
SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE INTRODUCTION
™ Sound Development Intermediate
SOUND DEVELOPMENT
Warm-up Exercises for Tone and Technique
INTERMEDIATE STRING ORCHESTRA 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.
Sound Development Advanced
Scan to view a Sound Development Intermediate video alfred.com/sdintstringsdvd
Features 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 A vailable in SmartMusic
F ocus on improving sound with bow lanes, bow weight, bow speed, shifting, and vibrato T wo warm-up chorales that can be performed by the entire orchestra or with flexible instrumentation
Authors The Sound Innovations authors bring years of extensive teaching, conducting, and composing experience.
Bob PHILLIPS
2
Peter BOONSHAFT
Robert SHELDON
Dr. Kirk D. MOSS
FEATURES SOUND DEVELOPMENT INTERMEDIATE SI for STRINGS
LEVEL 1
Bowing lanes Bow weight Bow speed Bow division Repertoire for practice
Sound Development Advanced
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.
Sound Development Intermediate
Sound Tone
3
SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE FEATURES
LEVEL 2
Sound Development Intermediate
Sound Bowings 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.
Sound Development Advanced 4
Detaché
Martelé
Tremolo
Collé
Staccato
Spiccato
Staccato hooks
Chop
Legato hooks
Repertoire for practice
FEATURES SOUND DEVELOPMENT INTERMEDIATE SI for STRINGS
LEVEL 3
Finger pattern logic
Shifting exercises
Natural harmonics
Repertoire for practice
Transport/guide notes
More vibrato
Clearly marked fingerings
Fingering chart
Sound Development Advanced
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.
Sound Development Intermediate
Sound Shifting
5
SI for STRINGS SOUND DEVELOPMENT INTERMEDIATE FEATURES
LEVEL 4
Sound Development Intermediate
Scales, Arpeggios, Chorales, & Rhythms 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. Two-octave scales and arpeggios
Bowing variations
Sight-reading training
Major and minor keys
Harmonized and drone accompaniments
Counting rhythms
Key signatures through 3 sharps and 3 flats Broken thirds
Sound Development Advanced 6
Finger-action exercises Four-part chorales
Two sets of fingerings for every scale
INTRODUCTION SOUND DEVELOPMENT ADVANCED SI for STRINGS
Sound Development Intermediate
™
SOUND DEVELOPMENT
Warm-up Excercises for Tone and Technique
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
Scan to view a Sound Development Advanced video alfred.com/sdadvstringsvideo
Features erfect reference book for scales and arpeggios P aluable resources for state and festival auditions V Technical development in a clear, concise, yet
thorough manner Skills defined and sequenced into learning routines The Sound Innovations revolutionary clear and uncluttered layout A vailable in SmartMusic
“
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
“
7
SI for STRINGS SOUND DEVELOPMENT ADVANCED FEATURES
LEVEL 1
Sound Development Intermediate
Sound Tone 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 Bow speed Chorales
2
Level 1: Sound Tone
Bowing Lanes
A BOWING LANE is the area between the fingerboard and bridge where the bow is placed: View video (Bowing Lanes) at alfred.com/SoundDevelopmentVideo
Mezzo Piano Lane G D A E
Fortissimo Lane
1
Sound Development Advanced
2
3
4
≥ 4 &4 œ œ ˙ F
≤ œ œ ˙ P
6
Piano Lane Pianissimo Lane
≥ ˙ f
Mezzo Forte Lane Forte Lane
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
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
4 œœœœ ≥ œ œ œ œ œ œ œ 4 œ œ 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
# ≥ & 44 œ œ œ p # & œ œ œ œ p frog
Franz Schubert
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
WHOLE BOW EXER
Lento
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.
# ≥ & # 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
8
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.
Allegro moderato sul tasto
5
8
11
FEATURES SOUND DEVELOPMENT ADVANCED SI for STRINGS
LEVEL 2
Sound Development Intermediate
Sound Bowings 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 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)
≥ ≤ &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.
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
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 . . . . . . . .
Sound Development Advanced
Spiccato
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
9
SI for STRINGS SOUND DEVELOPMENT ADVANCED FEATURES
LEVEL 3
Sound Development Intermediate
Sound Shifting 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.
Tenor clef, treble clef, 8va, and thumb position Playing in 1/2, 2nd, 3rd, 4th, 5th, 6th, and 7th positions
Level 3: Sound Shifting
Playing in 6th and 7th Position: Using Pattern 3 84
85
Sound Development Advanced
86
87
88
Check your fingering chart for the new finger placements.
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
≥ ˙ ˙
3rd Pos.
5th Pos.
6th Pos.
j b œ . œj b ˙ œ j ˙ j j . œ œ . œj ˙ ˙ b˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 5th Pos.
≥˙ ˙ 4 &4
6th Pos.
-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 ˙ ˙
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
10
œ. œ ˙ œ. œ ˙ œ. œ ˙ ˙ ˙ œ . œ ˙ œ . œJ ˙ œ . œJ ˙ J J J J
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.
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
-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.
17
FEATURES SOUND DEVELOPMENT ADVANCED SI for STRINGS
Sound Scales and Arpeggios 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) Check your fingering chart for finger placements. Mark in the half steps as directed by your teacher. B b MAJOR SCALE—Learn the third octave of the B b major scale.
x1 o œ œ4 œ œ
? b b 44 œ œ œ œ
A.
4
2
o
x1
1st Pos.
b &b ˙
C.
b &b
˙3
B bb
œ3
D.
E.
222
3
˙
˙
˙2
˙1
-1
œ2
œ1
2
œ
-4
?
3rd Pos.
x2
œ2
œ
-1
B
-1
3rd Pos.
˙
˙
˙
˙1
-1
-2
œ3
œ2
6th Pos.
˙
˙
˙
-2
&
B bb
E.
˙
˙1
&
œ1
œ
3rd
6th Pos.
œ2 œ1 -2œ x1œ
œ œo œ4 œ2
F. 1
1st Pos.
œ œ œ œ
x1
o
4
-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 x1
x2
-4 œ -2 b œ œ -2œ œ B œ œ œ b & -3
?
&
2
-1 œ -1 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
˙3
-4
B
-3
1
B bb
C.
˙3
˙2
-1
2
1st Pos.
œ
œ4
œ o
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
x2
2
Sound Development Advanced
221
Sound Development Intermediate
LEVEL 4
-1
Ó
11
STRINGS
SOUND
™
INNOVATIONS for STRING ORCHESTRA
WHICH LEVEL IS RIGHT FOR YOU?
AUSTRAL IA EDITION N !
AUSTRAL IA EDITION N !
BOOK 1
BOOK 2
SOUND DEVELOPMENT FOR INTERMEDIATE ORCHESTRA
SOUND DEVELOPMENT FOR ADVANCED ORCHESTRA
The 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.
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
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.
Continuing 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.
For more information contact sales@devirra.com or 02 8707 3650