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Sound Innovations for String Orchestra: Sound Development (Advanced): Conductor Book

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Sound Innovations for String Orchestra: Sound Development (Advanced) Cover Image

Sound Innovations for String Orchestra: Sound Development (Advanced): Conductor Book

Warm-up Exercises for Tone and Technique for Advanced String Orchestra

By Bob Phillips and Kirk Moss

Item: 00-41095

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Sound Innovations: Sound Development for Advanced String Orchestra continues the emphasis on playing with a characteristic, beautiful sound, but also focuses on 3-octave scales, particularly scales that students will need for regional auditions and all-states. Advanced technical skills are presented in four levels, consistent with the revolutionary and flexible Sound Innovations structure: (1) Sound Tone, (2) Sound Bowing, (3) Sound Shifting, and (4) Sound Scales and Arpeggios. The levels can be used in the order that is best for your students, as individual warm-ups, or as structured units. The perfect book to follow Sound Development for Intermediate String Orchestra, or for any advanced string ensemble or individual learner, your students will further refine the proper use of the bow, bow strokes, shifting, and 3-octave scales.
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Additional Details
Series: Sound Innovations for String Orchestra
Publisher: Alfred Music
Page Count: 240
ISBN10: 0-7390-9699-0
ISBN13: 978-0-7390-9699-4
UPC: 038081461458
SKU: 00-41095
Instrumentation: Conductor's Score

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About the Authors

Bob Phillips
# Bob Phillips

Born in 1953, Bob Phillips is a composer, author, conductor, and educator who has shaped string music instruction through innovative approaches to large group pedagogy and eclectic musical styles. Recognized as a leading figure in string education, his works reach thousands of young musicians annually through classroom materials and published compositions.

Phillips has authored more than 25 instructional book series, including all six levels of Sound Innovations and groundbreaking eclectic collections such as Fiddlers Philharmonic, Jazz Philharmonic, Rock Philharmonic, and Mariachi Philharmonic. Over 200 of his compositions have been published for orchestras and bands, earning him recognition as an award-winning ASCAP composer whose works 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 a string program that grew to over 700 students and became a national model for excellence in both classical and eclectic music. He founded the Saline Fiddlers Philharmonic, which achieved international prominence through his direction, performing more than 80 shows annually and appearing multiple times at the White House and Midwest Clinic. Phillips has conducted at prestigious venues and festivals including All-State orchestras across multiple states, Blue Lake Fine Arts Camp, Interlochen, and served as resident conductor and arranger for the Wintergrass Festival in Seattle for 12 years. He also worked as assistant music director and arranger for the professional ensemble Barrage 8.
Kirk Moss
Kirk D. Moss, Ph.D., currently serves as Vice Provost for Faculty and Academic Programs at University of Northwestern – St. Paul. He earned recognition as a Faculty Award winner for Excellence in Scholarship in 2021. Moss holds a Ph.D. in Music Education with a conducting emphasis from University of Florida, supplemented by a Master of Music degree from University of Cincinnati College-Conservatory of Music and a Bachelor of Music degree with high distinction from University of Michigan.

Moss has shaped the string education landscape through his work as past national president of the American String Teachers Association and multiple leadership roles within the organization, including chairing the ASTA National Orchestra Festival five times and serving on the Executive Board. He coauthored the Sound Innovations series method books for Alfred Music and has created numerous string orchestra arrangements. His contributions have earned him six ASTA National Citation for Leadership and Merit awards, as well as an Alumni Outstanding Achievement Award from the University of Florida School of Music.

Throughout his career, Moss has directed school orchestras for twelve years at the elementary, middle, and high school levels, with ensembles earning accolades at state, national, and international competitions. One of his former high schools perpetuates his legacy by awarding an annual college string scholarship in his name. He has worked as a guest conductor, clinician, and adjudicator across nearly forty states and Australia. Moss shares more than thirty-five years of marriage with his wife, Deb, and together they have three children: Bethany, Luke, and Lydia.

Why we love this

This conductor book gives you a genuine tool, not just another warm-up collection. The four-level structure (Sound Tone, Sound Bowing, Sound Shifting, Sound Scales and Arpeggios) means you can target exactly what your advanced ensemble needs in any given week, and the 3-octave scales directly address what audition judges and all-states panels actually expect. Phillips and Moss built this for real advanced orchestras with real technical demands, not theoretical ones.

What to expect

The work feels methodical and purposeful. Exercises build from foundational bow control and tone production into the demanding shifting patterns and extended-range scales that distinguish advanced from intermediate playing. You sense the progression toward real audition readiness rather than abstract technique.

Who it's for

String orchestra directors working with advanced ensembles who need structured, audition-ready technical preparation. This conductor book also serves private teachers coaching individual students preparing for regional or all-state auditions, as the modular design allows you to isolate whatever technical element a student needs to strengthen.

How to get the most out of it

  • Use the flexibility of the four levels to diagnose where your ensemble's technique breaks down, then assign that unit as your focused warm-up sequence for 2-3 weeks before rotating.
  • Structure your rehearsals so that Sound Tone and Sound Bowing exercises appear early when players are fresh and can prioritize sound quality; save Sound Shifting and scales for mid-rehearsal when muscle memory and endurance matter more.
  • Record individual sections playing the 3-octave scales and listen back as a group; students hear their own intonation and blend immediately, turning technical work into ensemble accountability.
  • Assign specific scales from the Sound Scales and Arpeggios section to chair placement auditions so students know in advance exactly what technical territory will be tested.

How to use it

Integrate this into your warm-up protocol starting in fall, using the Sound Tone and Sound Bowing levels through October and November to reset fundamentals after summer. Shift to Sound Shifting and Sound Scales in December through February as students prepare for audition season, ensuring they walk into judging rooms with the scales and technical security they need. The modular approach also lets you return to specific levels throughout the year whenever a particular technique needs reinforcement.

Skills your students will build

  • Characteristic tone production across the full range and all positions
  • Efficient bow control through varied bow strokes and articulations
  • Confident shifting across multiple positions
  • 3-octave scale fluency in all keys for audition preparation
  • Intonation accuracy across extended technical passages
  • Arpeggios and technical patterns needed for all-states repertoire

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