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Sound Innovations for String Orchestra, Book 2: Piano Acc. (Instrumental) Book

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Sound Innovations for String Orchestra, Book 2 Cover Image

Sound Innovations for String Orchestra, Book 2: Piano Acc. (Instrumental) Book

A Revolutionary Method for Early-Intermediate Musicians

By Bob Phillips, Peter Boonshaft, and Robert Sheldon

Item: 00-34604

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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.
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"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

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Additional Details
Series: Sound Innovations for String Orchestra
Publisher: Alfred Music
Page Count: 76
ISBN10: 0-7390-6799-0
ISBN13: 978-0-7390-6799-4
UPC: 038081383729
SKU: 00-34604
Instrumentation: Piano Acc.

More about this title

About the Authors

Bob Phillips
Bob Phillips (b. 1953) is an acclaimed author, composer, pedagogue, and conductor who has fundamentally shaped string education through innovative approaches to large group instruction and genre diversity. His extensive catalog includes over 25 instructional book series and more than 200 published works for orchestras and bands, establishing him as one of the field's most prolific educational composers. An award-winning ASCAP composer, his pieces are performed by thousands of string students annually and regularly featured at prestigious venues like the Midwest Clinic.

His most influential contributions include the complete Sound Innovations series across all six levels and groundbreaking eclectic style publications such as Fiddlers Philharmonic, Jazz Philharmonic, Rock Philharmonic, Mariachi Philharmonic, Latin Philharmonic, and Fiddle and Song. During 27 years in Saline, Michigan, Phillips developed a nationally recognized string program serving over 700 students and founded the Saline Fiddlers Philharmonic, which performed more than 80 shows annually under his direction while earning an international reputation and appearing at the White House multiple times. His instructional DVDs, String Clinics to Go, have been adopted by thousands of educators.

Phillips has conducted numerous youth and all-state orchestras across the country, including ensembles at Interlochen, Blue Lake Fine Arts Camp, and in Georgia, Kentucky, South Carolina, Michigan, Tennessee, and California. 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 dynamic voices in music education. He serves as Director of Education for Jupiter Band Instruments and maintains a popular weekly blog that reaches music educators nationwide. His speaking and conducting engagements have taken him across all fifty states and internationally, earning him recognition as an influential educator and thought leader in the field.

His accolades reflect decades of distinguished service. Boonshaft received the inaugural "George M. Parks Award for Leadership in Music Education" from the National Association for Music Education and Music For All. He has earned honorary recognitions including membership in Pi Kappa Lambda and Alpha Chi, three designations as a National Endowment for the Arts "Artist in Residence," and the Al G. Wright Award of Distinction from Women Band Directors International. Additional honors include gubernatorial proclamations from five states and commendations from Presidents Reagan and Clinton, as well as former Prime Minister Margaret Thatcher.

Boonshaft holds a Doctor of Musical Arts degree, a Master of Music Education in Conducting, and a Bachelor of Music (Summa Cum Laude), along with certification from the Kodály Musical Training Institute. He is Professor Emeritus of Music at Hofstra University and previously taught at Moravian College and the University of Hartford. As founder and music director of both the Pennsylvania Youth Honors Concert Band and the Connecticut Valley Youth Wind Ensemble, he has shaped the musical development of countless young musicians.
Robert Sheldon
Robert Sheldon stands among today's most widely performed composers of wind band music. He serves as lead author of Sound Innovations for Concert Band and regularly accepts commissions for new works while producing numerous publications annually for concert band ensembles.

His compositions have earned recognition from the American School Band Director's Association, Phi Beta Mu, and the American Society of Composers, Authors and Publishers. His music resonates globally, appearing on international concert and contest programs and reaching audiences across continents. VanderCook College of Music awarded him an honorary doctorate in July 2020.

Sheldon maintains an active schedule as a guest conductor for All-State and Regional Honor Bands while serving as a music education clinician. He has presented sessions and seminars at colleges, universities, and state music education conferences throughout the United States and internationally in Japan, Canada, Italy, Germany, Australia, and China. His works have been performed at prestigious venues including Carnegie Hall in New York, Orchestra Hall in Chicago, Boston Symphony Hall, the Sydney Opera House, and the Kennedy Center for the Performing Arts in Washington D.C.

Why we love this

This piano accompaniment book removes a major barrier to ensemble rehearsal: having to double string parts at the keyboard or rely on recordings. Phillips has structured Book 2 so that every exercise and tune can be supported live, keeping your rehearsal flexible and responsive. The leveled architecture means accompaniments scale with student capability, so you're never playing music that overshadows developing musicians.

What to expect

Book 2 builds on the foundation of Book 1 with a sense of growing confidence and capability. New keys and rhythmic figures feel achievable because they appear gradually, supported by plenty of context and reinforcement. The ensemble sound takes on deeper character as students develop tone and intonation together.

Who it's for

String orchestra directors and piano accompanists supporting Sound Innovations Book 2 classes, whether teaching full ensembles or sectional groups. This accompaniment works equally well for a pianist in a beginning orchestra, a director who plays piano during rehearsal, or a school accompanist preparing for concert performances.

How to get the most out of it

  • Match articulation and phrasing with the ensemble; when violins use a short bow stroke, adjust your touch to mirror their clarity rather than sustain through it.
  • Anchor rhythmic sections by playing slightly ahead of the string parts during early rehearsals, then gradually settle into ensemble balance as intonation and rhythm solidify.
  • Use dynamics marked in the accompaniment as a teaching tool; exaggerate contrasts during sectional rehearsals so students hear what crescendos and diminuendos sound like before they execute them on their instruments.
  • When students encounter new keys, play block chords in the left hand to establish harmonic clarity, then add independence once they internalize the tonal center.

How to use it

Use this accompaniment during weekly rehearsals to provide harmonic grounding while students focus on their individual parts. For concert programming, the accumulated exercises and performance pieces from Book 2 create natural content for school assemblies or winter/spring recitals. The segmented progression also works well for assessing student readiness before advancing to Book 3.

Skills your students will build

  • Reading mixed keys (major and minor) introduced progressively
  • Rhythmic accuracy in simple and compound meters
  • Tone development through guided exercises and ensemble listening
  • Foundational scales and arpeggios in multiple keys
  • Ensemble balance and intonation in a supported harmonic context
  • Musical expression through dynamic and articulation contrasts

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