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

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

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

By Bob Phillips and Kirk Moss

Item: 00-41098

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Description
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: 56
ISBN10: 0-7390-9702-4
ISBN13: 978-0-7390-9702-1
UPC: 038081461489
SKU: 00-41098
Instrumentation: Cello

More about this title

About the Authors

Bob Phillips
Bob Phillips, born in 1953, stands out as a composer, author, and educator who has fundamentally shaped string education through innovative pedagogy and large group instruction. His work spans conducting, teacher training, and curriculum development, establishing him as a leading voice in bringing diverse musical styles to string students worldwide.

Phillips has authored more than 25 book series for classroom use, including the complete Sound Innovations series and pioneering eclectic style collections such as Fiddlers Philharmonic, Jazz Philharmonic, Rock Philharmonic, Mariachi Philharmonic, Latin Philharmonic, and Fiddle and Song. Over 200 of his compositions have been published for orchestras and bands; he is an award-winning ASCAP composer whose works receive regular performances at the Midwest Clinic. His instructional DVD series, String Clinics to Go, has become a resource for thousands of teachers.

Throughout his 27 years in Saline, Michigan, Phillips built a string program serving over 700 students and recognized nationally for excellence in both classical and eclectic music. He founded and directed the Saline Fiddlers Philharmonic, an internationally respected ensemble that performed more than 80 shows annually, including multiple White House performances and Midwest Clinic appearances. As conductor, Phillips has worked with youth symphonies and all-state orchestras across the country, including programs at Interlochen, Blue Lake Fine Arts Camp, and numerous state honors orchestras. He spent 12 years as resident conductor and arranger for Seattle's Wintergrass Festival and served as assistant music director and arranger for the professional ensemble Barrage 8.
Kirk Moss
Kirk D. Moss, Ph.D., serves as Vice Provost for Faculty and Academic Programs at University of Northwestern – St. Paul. He is an accomplished conductor and string educator who earned recognition from the university with the 2021 Faculty Award for Excellence in Scholarship. A former national president of the American String Teachers Association, Moss has shaped the organization through multiple leadership roles, including five terms chairing the ASTA National Orchestra Festival and service on the Executive Board.

Throughout his career, Moss has made significant contributions to music education through publication and performance. He co-authored the Sound Innovations series method books for Alfred Music and has composed numerous string orchestra arrangements. His conducting, clinics, and adjudication work have taken him across nearly forty states as well as to Australia. The University of Florida School of Music presented him with an Alumni Outstanding Achievement Award, and he has received six ASTA National Citation for Leadership and Merit awards.

Moss spent twelve years directing school orchestras at the elementary, middle, and high school levels, with ensembles earning accolades at state, national, and international competitions. His influence extends beyond his tenure: one former high school established an annual college string scholarship bearing his name. He holds degrees from three major institutions: a Ph.D. in Music Education with conducting emphasis from University of Florida, a Master of Music in string pedagogy from University of Cincinnati College-Conservatory of Music, and a Bachelor of Music with high distinction from University of Michigan. Moss and his wife, Deb, have been married for more than thirty-five years and are parents to three adult children: Bethany, Luke, and Lydia.

Why we love this

Phillips has designed this book to serve the specific audition and ensemble needs of advancing cellists, moving beyond general technique into the 3-octave scales that regional judges expect. The four-level structure gives you real flexibility in how you build the hour, whether you're warming up individually, targeting weak areas, or moving through units systematically. Few books at this level balance systematic sound development with the practical, audition-focused material that advanced students actually need.

What to expect

Working through this book feels like learning to speak a language with precision and elegance. Each level builds deliberate control over the bow and the voice of the instrument, so what began as technical exercise becomes genuine musical expression. Students discover that sound development and technical mastery are not separate goals but intertwined.

Who it's for

Advanced string orchestra cellists preparing for regional auditions, all-state ensembles, or solo performance. This book also serves cellists continuing from the intermediate level who are ready to tackle the technical and musical demands of 3-octave scales and refined bowing techniques.

How to get the most out of it

  • Treat the 3-octave scales as performance material, not just exercise. Maintain the same tone quality, bow control, and vibrato you'd use in a concerto passage, so students internalize that scales demand artistry, not just accuracy.
  • Use the structured levels to diagnose individual needs. A cellist who struggles with shifting will benefit from focused Sound Shifting work before moving to full 3-octave runs.
  • Record students playing the same scale across weeks. The gradual refinement of tone, intonation, and bow efficiency becomes audible proof that the method is working, which motivates continued focus on sound quality.

How to use it

Use this as your audition preparation text, beginning work on it at the start of the year so students have time to internalize the scales before regional competition season arrives. It works equally well as a structured warm-up routine for rehearsal or as a tool for individual lesson planning, allowing you to address technique gaps without derailing ensemble work.

Skills your students will build

  • 3-octave scales across multiple positions and fingerings
  • Consistent tone production across register changes and dynamic ranges
  • Advanced bow techniques including complex stroke patterns and bow distribution
  • Shifting between positions with accuracy and musical continuity
  • Arpeggios in multiple octaves and keys
  • Vibrato control and application across different technical contexts
  • Intonation refinement at advanced levels of speed and range

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