Sound Innovations: Sound Development continues the emphasis on playing with a characteristic beautiful sound. What goes into producing this sound is broken into four levels, consistent with the revolutionary Sound Innovations structure: (1) Sound Tone; (2) Sound Bowings; (3) Sound Shifting; and (4) Sound Scales and Arpeggios. The levels can be used in the order that is best for your development, whether that means as individual warm-ups or as structured units. Video demonstrations of key skills are indicated by and can be viewed at alfred.com/SoundDevelopmentVideo.

Level 1: Sound ToneMore than just scales and arpeggios, this method builds sequences upon some of the most important variables of sound: bowing lanes, bow weight, and bow speed. Detailed re� nement of these concepts includes advanced exercises, excerpts, and chorales.

Level 2: Sound BowingsA string player’s right-hand technique is often called his or her voice. Re� nement of martelé, collé, spiccato, hooked bowing, portato, ricochet and the col legno stroke is developed in exercises and excerpts. Double stops and chords are sequentially presented. Level 2 can be studied sequentially or as repertoire requires.

Level 3: Sound ShiftingShifting technique is expanded using � nger patterns. This level contains an extremely thorough unison presentation of 1st through 7th positions for all instruments, making it easy to teach and learn shifting in a heterogeneous class as well as a private studio. Thumb position, tenor clef, treble clef, and 8va are all introduced.

Level 4: Sound Scales and ArpeggiosThree-octave scales, arpeggios, and broken thirds are presented in all keys. The innovative format is � exible, allowing each section or player to play one, two, or three octaves while the ensemble plays the same or di� erent octaves. Fingerings are idiomatic and carefully marked for each instrument.

SOUND DEVELOPMENTWarm-up Exercises for Tone and Technique

ADVANCED STRING ORCHESTRA

Bob PHILLIPS | Kirk MOSS

Instrument photos courtesy of Yamaha Corporation of America Band & Orchestral Division

© 2013 Alfred Music Publishing Co., Inc.Sound Innovations™ is a trademark of Alfred Music Publishing Co., Inc.

All Rights Reserved including Public Performance

BASS

ISBN-10: 0-7390-9703-2 ISBN-13: 978-0-7390-9703-8

Level 1: Sound ToneBowing Lanes

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CHANGING BOWING LANES—Move your bow to the new bowing lane during each dynamic change.

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CHANGING BOWING LANES IN ONE BOW—Move your bow through all six bowing lanes in one bow. Challenge: Go back and play this exercise starting down bow.

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THE DEATH OF ÅSE—Practice playing in all six bowing lanes. Challenge: Have a friend watch your bow to check all of the lane changes.

Edvard Grieg

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SUL TASTO: SYMPHONY NO. 8—Sul tasto indicates to play over the fingerboard. Place your bow over the end of the fingerboard anduse a very-light bow weight with a very-fast bow speed in the upper third of the bow. Listen for an airy, flute-like, sound.

Franz Schubert

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SUL PONTICELLO: SYMPHONY NO. 97—Sul ponticello indicates to play as close to the bridge as possible. Place your bow near the bridge and listen for a bright, metallic sound.

Joseph Haydn

A BOWING LANE is the area between the fingerboard and bridge where the bow is placed:

E A D G

Piano LaneMezzo Piano Lane

Pianissimo Lane

Fortissimo Lane

Mezzo Forte LaneForte LaneView video (Bowing Lanes) at

alfred.com/SoundDevelopmentVideo

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WHOLE BOW EXERCISE NO. 3—Practice adding weight as the bow nears the tip and releasing weight as the bow nears the frog.

Nicolas Laoureux

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Level 3: Sound ShiftingTenor Clef, Treble Clef, 8va and Thumb Position

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THUMB POSITION—Cellos and basses practice placing the thumb to play in thumb position. Violins practice playing 8va while violas practice playing in treble clef.

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THUMB POSITION EXERCISE NO. 1—Cellos and basses play in thumb position. Violins practice playing 8va while violas practice playing in treble clef.

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THUMB POSITION EXERCISE NO. 2—Cellos and basses play in thumb position. Violins practice playing 8va while violas practice playing in treble clef.

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THUMB POSITION EXERCISE NO. 3—Cellos and basses play in thumb position. Violins practice playing 8va while violas practice playing in treble clef.

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THUMB POSITION EXERCISE NO. 4—Cellos and basses play in thumb position. Violins practice playing 8va while violas practice playing in treble clef.

Check your fingering chart for the new finger placements.

TENOR and TREBLE clefs are often used as pitches get higher to reduce the number of ledger lines needed. TENOR CLEF is used for intermediate pitches while TREBLE CLEF is used for higher pitches. The same F Major scale is notated in each clef.

THUMB POSITION ( ) indicates to place the side of the left-hand thumb on the string. The left-hand thumb is released and moves from behind the neck to the fingerboard as the left elbow is raised. The string should contact the thumb between the base of the left-hand thumbnail and the joint. The left-hand first, second, and third fingertips are used to push down the string.

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Bass Left-Hand Patterns

Exercise No. 1 Exercise No. 2 Exercise No. 3 Exercise No. 4Thumb Position (Side View)

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Level 4: Sound Scales and ArpeggiosC Major(This is often required as an all-state audition scale.)

Check your fingering chart for finger placements. Mark in the half steps as directed by your teacher.

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C MAJOR SCALE—Learn the third octave of the C major scale.

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C MAJOR SCALE SLURRED TWO PER BOW—Play the C major scale with two notes slurred per bow at Œ = 60.

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C MAJOR SCALE SLURRED FOUR PER BOW—Play the C major scale in a traditional pattern with four notes slurred per bow at Œ = 60.

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C MAJOR ARPEGGIO—Learn the third octave of the C major arpeggio.

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