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Sound Innovations for String Orchestra, Book 2: Violin Book & Online Media

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Sound Innovations for String Orchestra, Book 2 Cover Image

Sound Innovations for String Orchestra, Book 2: Violin Book & Online Media

A Revolutionary Method for Early-Intermediate Musicians

By Bob Phillips, Peter Boonshaft, and Robert Sheldon

Item: 00-34600

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Sound Innovations for String Orchestra, Book 2 continues your student's musical journey by teaching with a complete review of Book 1, and a segmented presentation of new concepts while introducing ensemble playing. Continue skill development with review, new keys, rhythms, tone development, and introductory scales and arpeggios. Following the unique Sound Innovations organization, the string orchestra method contains levels, each of which is divided into several sections that introduces concepts separately, providing benchmarks, assessment, and intermediate goals. The isolation of new concepts helps facilitate the understanding of more advanced material. Sound Advice sections throughout the Teacher's Score assist with quick and easy-to-use tips and suggestions. Plenty of practice and performance opportunities are also provided in order to reinforce each lesson. MasterClass lessons with string ensemble videos and accompaniment recordings are available streaming at www.alfred.com/SIOnline from anywhere with internet access. Learn more at www.alfred.com/SIOnline.
This title is available in MakeMusic Cloud.

"Sound Innovations by Alfred Music is a dream-come-true method for beginning concert band and string orchestra. Its infusion of technology provides an open-ended architecture of the first order. This unique blend of time-tested strategies and technology offer a great foundation for a successful learning experience."
---John Kuzmich, Jr., BandDirector.com

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Sound Innovations for String Orchestra, Book 2: Violin Book & Online Media comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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2 The Muffin Man --:--

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Additional Details
Series: Sound Innovations for String Orchestra
Publisher: Alfred Music
Page Count: 48
ISBN10: 0-7390-6795-8
ISBN13: 978-0-7390-6795-6
UPC: 038081383682
SKU: 00-34600
Instrumentation: Violin

More about this title

About the Authors

Bob Phillips
Bob Phillips, born in 1953, is a composer, author, and conductor who has fundamentally shaped string education through his innovative approach to large group pedagogy and eclectic musical styles. As a leading educational composer and author, his works are performed by thousands of string students annually across the country.

Phillips has created over 25 book series for classroom instruction, including all six levels of Sound Innovations and the influential eclectic styles collections Fiddlers Philharmonic, Jazz Philharmonic, Rock Philharmonic, and Mariachi Philharmonic. He has published more than 200 works for orchestras and bands, earning recognition as an ASCAP award-winning composer whose pieces regularly appear at the Midwest Clinic. His instructional video series, String Clinics to Go, has become a resource for thousands of teachers nationwide.

During his 27 years in Saline, Michigan, Phillips built an exceptional string program serving over 700 students that became a national model for excellence across classical and eclectic genres. He founded the Saline Fiddlers Philharmonic, which achieved international prominence under his direction while performing more than 80 shows annually, including multiple performances at the White House and the Midwest Clinic. Phillips has conducted numerous ensembles including all-state orchestras across Georgia, Kentucky, South Carolina, Michigan, Tennessee, and California, as well as youth symphonies and specialized programs such as those at Interlochen and Blue Lake Fine Arts Camp. He served as resident conductor and arranger for Seattle's Wintergrass Festival for 12 years and worked as an assistant music director and arranger for the professional string ensemble Barrage 8.
Peter Boonshaft
Peter Loel Boonshaft stands out as one of today's most compelling voices in music education. He serves as Director of Education for Jupiter Band Instruments and maintains a widely followed weekly blog that reaches music educators across the country. His reputation has led to invitations to speak and conduct throughout all fifty states and internationally.

Recognition of his contributions spans multiple prestigious organizations and institutions. The National Association for Music Education and Music For All honored him as the inaugural recipient of the George M. Parks Award for Leadership in Music Education. He has earned membership in Pi Kappa Lambda and Alpha Chi honor societies, received the Al G. Wright Award of Distinction from Women Band Directors International, and was selected three times as an Artist in Residence by the National Endowment for the Arts. At the University of Hartford, where he is Professor Emeritus of Music, he received both the Regent's Award twice and the Outstanding Music Educator Award. He also holds a scholarly research fellowship at Hofstra University's Center for Scholarly Research and Academic Excellence.

Beyond his teaching and administrative roles, Dr. Boonshaft has performed for several U.S. presidents and world leaders, including George H. W. Bush, Bill Clinton, and Margaret Thatcher. He founded and directed the Pennsylvania Youth Honors Concert Band and the Connecticut Valley Youth Wind Ensemble. His formal training includes a Doctor of Musical Arts degree, a Master of Music Education in Conducting, and a Bachelor of Music (Summa Cum Laude), along with a certificate from the Kodály Musical Training Institute following a Connecticut General Fellowship.
Robert Sheldon
Robert Sheldon stands among today's most widely performed composers in the wind band repertoire. He serves as lead author of Sound Innovations for Concert Band and has created a substantial catalog of works that connect meaningfully with performers and listeners. His compositions appear regularly on international concert and competition programs, and ensembles around the world continue to champion his music.

Sheldon's accolades include prestigious awards from the American School Band Director's Association, Phi Beta Mu, and the American Society of Composers, Authors and Publishers. He remains highly prolific, accepting commissions for new compositions and publishing numerous works for concert band annually. In 2020, VanderCook College of Music honored him with a doctorate degree.

His involvement extends well beyond composition. Sheldon frequently guests conduct All-State and Regional Honor Bands while maintaining an active schedule as a music education clinician at universities and state conferences. His conducting career has taken him throughout the United States, Japan, Canada, Italy, Germany, Australia, and China, with performances of his works presented at venues including Carnegie Hall, Orchestra Hall, Symphony Hall, the Sydney Opera House, and the Kennedy Center for the Performing Arts.

Why we love this

Book 2 honors what made Book 1 effective while genuinely expanding the musical and technical landscape your students can access. The segmented presentation of new concepts within each level means you're not introducing four things at once; instead, students master one skill and then layer the next one on top, which is how confident players actually develop. The inclusion of MasterClass videos and accompaniment recordings transforms isolated practice into something closer to real ensemble work, even when students need to work independently.

What to expect

Working through Book 2 feels like having permission to breathe. New rhythms and keys arrive gradually, each one familiar enough that students recognize it as a variation on something they've already done. The ensemble arrangements are written so that even a violin with modest sight-reading skills can contribute something meaningful on the first read; the blend of confidence and challenge keeps rehearsals moving forward.

Who it's for

String orchestra students progressing through their second year of study, including those who completed Sound Innovations Book 1 or an equivalent foundation. Violin players in mixed-level ensembles will find clear individual parts that don't require orchestration decisions from the director. This book works equally well for school orchestras and private studio group lessons where ensemble playing is part of the curriculum.

How to get the most out of it

  • Use the online MasterClass videos to isolate specific technical passages before the full group tackles them together; students who watch a demonstrated bowstroke or fingering pattern first bring that awareness into rehearsal.
  • Leverage the accompaniment recordings during sectionals so your violin players hear how their parts sit within the orchestral texture, not just as solo lines.
  • Assign the Sound Advice tips in the Teacher's Score to student leaders within your section; they'll internalize the guidance faster and reinforce it to their peers.
  • Build assessment moments around the benchmarks and intermediate goals embedded in each level rather than saving evaluation for the end; this keeps the learning transparent and gives struggling students clear targets.

How to use it

Integrate Book 2 as your core material for a full year of study in a beginning string orchestra, working through it systematically during regular rehearsals while also programming shorter performance pieces for concerts. Alternatively, use it as a supplementary resource alongside your existing orchestra literature, pulling specific levels or sections to target skill gaps without disrupting your current repertoire schedule. The method's flexibility allows you to layer it into a hybrid curriculum where students develop technique on book material in separate sectionals while ensemble rehearsal time focuses on concert music.

Skills your students will build

  • Reading sixteenth-note rhythms and mixed meters (3/4, 4/4) with secure rhythm section coordination
  • Playing in multiple keys beyond the original first-position foundation, extending range and fingerboard geography
  • Tone development through intentional bow distribution and dynamic contrast in ensemble context
  • Basic scales and arpeggios in new keys as technical anchors before introducing them in solo repertoire
  • Listening and blending in an ensemble while maintaining individual part accuracy and musicality

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