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

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

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

Warm up Exercises for Tone and Technique

By Bob Phillips and Kirk Moss

Item: 00-34609

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Description
Sound Innovations: Sound Development 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: (1) Sound Tone, (2) Sound Bowings, (3) Sound Shifting, and (4) Sound Scales, Arpeggios, Chorales, and Rhythms. The flexible 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 are reinforced with comprehensive scales, arpeggios, sight-reading materials, rhythm exercises, and warm-up chorales. Video demonstrations of key skills are referenced in the book and can be viewed online at www.alfred.com/SoundDevelopmentVideo.
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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: Sound Development (Intermediate): Cello Book comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Sound Innovations for String Orchestra
Publisher: Alfred Music
Page Count: 56
ISBN10: 0-7390-6804-0
ISBN13: 978-0-7390-6804-5
UPC: 038081383774
SKU: 00-34609
Instrumentation: Cello

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About the Authors

Bob Phillips
Bob Phillips is an author, composer, and conductor born in 1953 who has established himself as a transformative force in string education. Recognized for his expertise in large group pedagogy and his development of diverse musical styles for strings, he has become one of the most prolific educational composers of our time. His instructional materials and compositions reach thousands of student musicians annually across the globe.

Phillips has authored more than 25 book series for classroom use, including the complete six-level Sound Innovations series and innovative eclectic publications such as Fiddlers Philharmonic, Jazz Philharmonic, Rock Philharmonic, Mariachi Philharmonic, and Latin Philharmonic. He holds over 200 published works for orchestras and bands to his credit and is an award-winning ASCAP composer whose pieces are regularly performed at the Midwest Clinic. His instructional video series, String Clinics to Go, has become a resource for thousands of educators nationwide.

During his 27 years directing the string program in Saline, Michigan, Phillips built a nationally recognized model of excellence with over 700 students spanning classical and eclectic musical styles. He founded and directed the Saline Fiddlers Philharmonic, an internationally acclaimed folk-fiddling ensemble that performed more than 80 shows annually, including appearances at the White House and the Midwest Clinic. Phillips has conducted extensively with youth orchestras, all-state ensembles, and prestigious camps including Interlochen and Blue Lake Fine Arts Camp. He served as resident conductor and arranger for Seattle's Wintergrass Festival for 12 years and has worked as assistant music director and arranger for the professional string ensemble Barrage 8.
Kirk Moss
Kirk D. Moss, Ph.D., is Vice Provost for Faculty and Academic Programs at University of Northwestern – St. Paul. He earned recognition as a Faculty Award recipient for Excellence in Scholarship in 2021. A respected leader in string music education, Moss previously served as national president of the American String Teachers Association and held multiple leadership roles within the organization, including five terms chairing the ASTA National Orchestra Festival.

His scholarly contributions include coauthoring the Sound Innovations method book series published by Alfred Music and creating numerous string orchestra arrangements. Moss has distinguished himself through conducting, teaching, and adjudicating work across nearly forty states and Australia. His accolades include six ASTA National Citation for Leadership and Merit awards and an Alumni Outstanding Achievement Award from the University of Florida School of Music.

During his twelve years of secondary music instruction, Moss directed orchestras that achieved state, national, and international recognition. His impact extends beyond the classroom; one of his former high schools established an annual college string scholarship bearing his name. He holds a Ph.D. in Music Education with conducting emphasis from the University of Florida, a Master of Music degree from the University of Cincinnati College-Conservatory of Music, and a Bachelor of Music degree from the University of Michigan. Moss and his wife, Deb, have been married for more than thirty-five years and have three children: Bethany, Luke, and Lydia.

Why we love this

This cello book delivers exactly what intermediate players need: systematic attention to the components of tone production without overwhelming them with unnecessary complexity. Phillips structures the material so you can address sound fundamentals in the order that matches your students' readiness, whether that means starting with bow control or shifting technique. The inclusion of video demonstrations accessible online means students can reinforce what they're learning in rehearsal during individual practice.

What to expect

Focused and purposeful. This isn't decorative padding; every exercise builds toward the core skill of producing a characteristic beautiful tone that unifies the orchestra. The progression from tone variables through bowings, shifting, and finally scales and arpeggios creates a natural arc that feels intentional rather than arbitrary.

Who it's for

Intermediate cellists in string orchestra settings who have moved beyond fundamental bow control and are ready to refine tone quality, master intermediate bowings, and develop vibrato and shifting technique. Directors leading intermediate-level groups benefit from a flexible, pedagogically sound approach to sound development that doesn't require reinventing warm-up routines.

How to get the most out of it

  • Work through the bow variables in Sound Tone deliberately before moving to more complex bowings. Isolate one element (speed, contact point, or pressure) per session so students develop conscious control rather than intuitive guessing.
  • Use the warm-up chorales at the beginning of rehearsal to set ensemble sound quality. These excerpts train listening and intonation while reinforcing the shifting and vibrato techniques from earlier in the book.
  • Reference the video demonstrations when introducing a new skill. Show the segment during rehearsal, then have students apply it immediately to the corresponding exercise on the page.
  • Cycle through scales and arpeggios from the Sound Scales section as part of your regular warm-up rotation. These aren't background material; they embed the technical foundations directly into players' muscle memory.

How to use it

Use this as your primary rehearsal resource for the intermediate year, cycling through the four levels as your ensemble's readiness allows. Many directors open rehearsal with selections from Sound Tone and Sound Scales while reserving the shifting and bowing sections for focused sectional work when cellists are ready to apply new techniques to repertoire.

Skills your students will build

  • Conscious control of bow speed, pressure, and contact point for consistent tone production
  • Intermediate bowings required for standard string orchestra repertoire
  • Vibrato technique with controlled speed and width
  • Shifting between positions with accurate intonation
  • Sight-reading fluency in varying rhythmic and melodic contexts
  • Scale and arpeggio facility across multiple keys
  • Ensemble listening and intonation adjustment within the cello section

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