The viola is a string instrument in the violin family. It is usually played with a bow and has a sound that is lower than the violin. The viola is slightly larger than the violin. Since the 18th century, it has served as the middle or alto voice in the violin family, between the violin (tuned a perfect fifth higher) and the cello (tuned an octave lower). The strings are typically tuned from low to high to C3, G3, D4, and A4.

In the past, violas varied in size and style, and they had many different names. The word "viola" comes from Italian. The Italians often called it "viola da braccio," meaning "of the arm." The Germans used the word "Bratsche" for the viola. The French used names like "cinquiesme" for a small viola, "haute contre" for a large one, and "taile" for a tenor. Today, the French use the term "alto," which refers to the viola’s range.

The viola was widely used during the time of five-part harmony, up until the 18th century. It often played three parts of the harmony and sometimes the melody. Music written for the viola usually uses the alto clef. When the viola plays in a higher range, it switches to the treble clef for easier reading.

In string quartets and orchestral music, the viola often plays the "inner voices" and is more likely than the first violin to play accompaniment parts. Occasionally, the viola takes a major role in solo or chamber music. Examples include Richard Strauss’s Don Quixote, Dmitri Shostakovich’s 13th Quartet, and Hector Berlioz’s Harold en Italie. In the early 20th century, more composers began writing for the viola, inspired by skilled soloists like Lionel Tertis and William Primrose. Composers such as Arthur Bliss, Edwin York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten, Rebecca Clarke, and Ralph Vaughan Williams created significant works for the viola. Many of these were written for or commissioned by Tertis. Composers like William Walton, Bohuslav Martinů, Tōru Takemitsu, Tibor Serly, Alfred Schnittke, and Béla Bartók wrote famous viola concertos. Major works include concertos by Bartók, Paul Hindemith, Carl Stamitz, Georg Philipp Telemann, and Walton. Hindemith, who was a violist, composed many pieces for the viola, including the concerto Der Schwanendreher.

Form

The viola is made from the same materials and built in a similar way to the violin. A full-size viola is 1 to 4 inches longer than a full-size violin, with an average length of about 16 inches. Smaller violas for children usually start at about 12 inches. For many years, viola makers have tried changing the size and shape of violas to create lighter instruments with shorter strings but still keep the large sound box that helps the instrument produce its characteristic sound. Before the 18th century, a larger viola called a tenor was used to play lower notes. A smaller viola called an alto viola was used for higher notes.

Some experiments aimed to make violas larger to improve their sound and harmony. Hermann Ritter’s viola alta, which was about 19 inches long, was designed for use in Wagner’s operas. The Tertis model viola has wider sides and deeper curves to help create a better tone. This model is slightly different from traditional violas but allows players to use a larger instrument. Many attempts to change the viola’s size, especially making the body larger, have resulted in a deeper tone, similar to a cello. However, because many composers wrote for traditional-sized violas, especially in orchestral music, changes in tone can affect how well the viola blends with other instruments in an ensemble.

One of the most famous viola makers in the 20th century was A. E. Smith, an Englishman. His violas are highly valued and still used today. Many of his violas remain in Australia, where he lived. During some years, the violists in the Sydney Symphony Orchestra had a dozen of his violas in their section.

More recent innovations have focused on making violas easier to play by making them shorter and lighter while keeping their traditional sound. These include the Otto Erdesz “cutaway” viola, which has one side cut out to make shifting easier; the “Oak Leaf” viola, which has two extra curves; viol-shaped violas like Joseph Curtin’s “Evia” model, which uses a moveable neck and a lightweight back made of carbon fiber; violas played like cellos (called vertical violas); and the unusual, melted-like shapes of Bernard Sabatier’s fractional-sized violas and David Rivinus’ Pellegrina model violas.

Other experiments have tried to solve the challenge of balancing comfort and sound. The American composer Harry Partch attached a cello neck to a viola to use his 43-tone scale, called the “adapted viola.” Luthiers have also made five-stringed violas, which allow for a wider range of notes.

Method of playing

A person who plays the viola is called a violist or a viola player. The technique used to play the viola is different from that of the violin, mainly because the viola is larger. The notes on the viola are spaced farther apart on the fingerboard, but the fingerings used are usually the same as those on the violin. The viola’s strings are less responsive, and its bow is heavier, which requires a different way of bowing. A violist must press the bow more firmly against the strings to produce sound.

The viola is held in the same way as the violin, but adjustments are needed because of its larger size. The viola is placed on the left shoulder, between the shoulder and the left side of the face (chin). Because the viola is larger, players with shorter arms often use smaller violas to make playing easier. The most noticeable changes for someone used to playing the violin are wider spacing between finger positions. Some players use a broader and stronger vibrato with the thicker part of their fingers instead of the tips. They also hold the bow and right arm farther from their body. To reach the lowest string, a violist must move their left elbow forward or around, allowing their fingers to press firmly and create a clearer sound. Players often use different positions, such as half position or third position, when playing.

The viola has thicker strings than the violin. This, along with its larger size and lower pitch, creates a deeper and richer sound. However, the thicker strings make the viola respond more slowly to changes in bowing. When playing with a violinist, a violist must start moving the bow slightly earlier than the violinist. The thicker strings also require more pressure from the bow to make them vibrate.

The viola’s bow has a wider band of horsehair than the violin’s bow, especially near the frog (or heel in the UK). Viola bows weigh between 70–74 grams (2.5–2.6 ounces), which is heavier than violin bows (58–61 grams [2.0–2.2 ounces]). The shape of the outside corner of the viola bow’s frog is usually more rounded than that of a violin bow.

Tuning

The viola has four strings that are usually tuned in fifths. The lowest string is C, which is one octave lower than middle C. The other strings are G, D, and A, placed above it. This tuning is one fifth lower than the violin, so the viola and violin share three strings—G, D, and A. It is also one octave higher than the cello.

Each string is wrapped around a peg near the top of the viola. The pitch of the string changes when the peg is turned. Tightening the string raises the pitch, and loosening it lowers the pitch. The A string is usually tuned first to match the pitch of the ensemble, which is typically between 400 and 442 Hz. The other strings are then tuned in fifths, often by bowing two strings at the same time. Many violas have fine tuners, which are small knobs near the tailpiece that allow for small pitch adjustments. Some violists use fine tuners only on the A string, while others use them on all strings. Fine tuners are often recommended for younger players or on smaller violas, though pegs and fine tuners are commonly used together. A few violists reverse the tuning of the C and G strings so the thicker C string does not bend sharply over the nut, though this is uncommon.

Small, temporary tuning changes can be made by stretching the strings with the hands. A string can be tuned lower by pulling it above the fingerboard or tuned higher by pressing it near the pegbox. These methods may help during performances if a string is slightly out of tune.

Most viola music is written in the tuning C–G–D–A. However, other tunings are sometimes used in classical music, called scordatura, and in some folk styles. For example, Mozart wrote the viola part in his Sinfonia Concertante in D major, instructing the violist to raise the strings by a semitone to make the viola sound brighter. Tertis, in his version of Elgar’s cello concerto, tuned the C string down to B flat to allow the viola to play a passage an octave lower.

Organizations and research

In the twentieth century, more people began to play and write music for the viola, which led to more studies about the instrument. In 1927, Paul Hindemith and Vadim Borisovsky started an organization called the Violists' World Union. However, the first lasting organization for violists was formed in 1968 with the creation of the Viola Research Society, now known as the International Viola Society (IVS). Today, the IVS has twelve chapters worldwide, with the largest being the American Viola Society (AVS). The AVS publishes the Journal of the American Viola Society and supports two competitions: the David Dalton Research Competition and the Primrose International Viola Competition.

During the 1960s, several books about the viola were published. Franz Zeyringer wrote Literatur für Viola, a book about viola music that has been updated multiple times, with the most recent version in 1985. In 1980, Maurice Riley wrote the first full history of the viola, History of the Viola, followed by a second volume in 1991. From 1979 to 1994, the IVS published a multilingual Viola Yearbook, and national chapters of the IVS also created newsletters. The Primrose International Viola Archive at Brigham Young University holds the largest collection of materials related to the viola, including sheet music, recordings, instruments, and records from famous violists.

Music

Music written for the viola often uses the alto clef, which is not commonly used for other instruments. On the alto clef, the lowest line represents the note F3, while on the treble clef, the lowest line is E4. When viola music includes high notes, the treble clef is used. The alto clef shows the note C4 on the middle line of the staff.

The viola is tuned one octave higher than the cello. This means music written for the cello can be rewritten for the viola without changing the key. For example, many versions of Bach’s Cello Suites are adapted for the viola. The viola is also smaller than the cello, making it easier to reach certain notes. However, some adjustments are needed because the viola and cello are played differently and have different ranges.

In early orchestral music, the viola often played harmony parts, with few opportunities to play melodies. When the viola had a melody, it was usually played together with other string instruments.

Bach’s Brandenburg Concertos are special because they use the viola in important ways. In the third concerto, the viola plays a complex part, including a solo that is often tested in orchestral auditions. In the sixth concerto, the viola takes on major melodic roles. Bach also used the viola in some of his cantatas, where it supports the choir with a solo part.

Some Baroque and Classical composers wrote concertos for the viola, such as Telemann, Rolla, Hoffmeister, and Stamitz.

The viola is important in chamber music. Mozart used the viola creatively in his six string quintets, which include two violas. This allows the viola to play solo parts and adds variety to the music. He also wrote the Sinfonia Concertante and the Kegelstatt Trio, which include the viola. Felix Mendelssohn wrote a Viola Sonata in C minor, and Robert Schumann composed works like Märchenbilder for viola and piano.

Max Bruch wrote a romance for viola and orchestra, and a set of pieces for clarinet, viola, and piano. His Concerto for Clarinet, Viola, and Orchestra is well-known.

Brahms included the viola in many of his works, such as his string sextets, which give the viola solo parts. He also wrote two songs for voice, viola, and piano. Dvořák, who played the viola, wrote music with important parts for the instrument. Smetana and Janáček included significant viola parts in their quartets, similar to how Bach, Mozart, and Beethoven used the viola in chamber music.

The viola sometimes plays a major role in orchestral music. For example, Richard Strauss’s Don Quixote features the viola in a solo part. Other examples include Elgar’s Enigma Variations and parts from ballets like Coppélia.

Gabriel Fauré’s Requiem was originally written for violas instead of violins. Later versions include violins, but recordings of the original version exist.

While the viola has a large repertoire, few works were written for it by famous composers before the 20th century. Many pieces were adapted from other instruments, and 20th-century composers created diverse works for the viola. The San Francisco Conservatory of Music’s “Viola Project” includes new compositions by students and their paired composers.

In the early 20th century, more composers wrote for the viola, inspired by skilled performers like Tertis. Composers such as Bliss, Vaughan Williams, and Walton wrote music for the viola. Hindemith, a violist, composed many works for the instrument. Debussy’s Sonata for flute, viola, and harp influenced other composers.

Charles Wuorinen wrote Viola Variations for Lois Martin, and Elliott Carter composed works like Elegy for viola and piano. Ernest Bloch wrote Suite 1919 and Suite Hébraïque for viola. Rebecca Clarke, a composer and violist, also wrote extensively for the instrument.

In the late 20th century, composers like Rózsa, Schnittke, and Penderecki wrote viola concertos. Morton Feldman’s The Viola in My Life includes concertante viola parts. In spectral music, the viola is used because its lower tones are easier to hear than on the violin. Composers like Grisey and Murail wrote solo works for the viola.

Notable violists

There are not many famous viola soloists. This might be because few viola pieces were written for expert players before the 20th century. Notable viola players before the 20th century include Stamitz, Rolla, Antonio Rolla, Chrétien Urhan, Casimir Ney, Louis van Waefelghem, and Ritter. Important early 20th-century violists were Tertis, William Primrose, Hindemith, Théophile Laforge, Cecil Aronowitz, Maurice Vieux, Borisovsky, Lillian Fuchs, Dino Asciolla, Frederick Riddle, Walter Trampler, Ernst Wallfisch, Csaba Erdélyi, the only violist to ever win the Carl Flesch International Violin Competition, and Emanuel Vardi, the first violist to record the 24 Caprices by Paganini on viola. Many famous violinists have also performed and recorded on the viola, including Eugène Ysaÿe, Yehudi Menuhin, David Oistrakh, Pinchas Zukerman, Maxim Vengerov, Julian Rachlin, James Ehnes, and Nigel Kennedy.

Some great composers preferred the viola over the violin when playing in ensembles. These include Ludwig van Beethoven, Bach, and Mozart. Other composers who played the viola in ensembles were Joseph Haydn, Franz Schubert, Mendelssohn, Dvořák, and Benjamin Britten. Rebecca Clarke and Hindemith are known both as violists and composers. Contemporary composers and violists Kenji Bunch, Scott Slapin, and Lev Zhurbin have written many works for the viola.

Electric violas

Regular acoustic violas use a piezoelectric pickup to make their sound louder. Electric violas are specially designed and often have little or no body. Unlike traditional violas, they can be made from materials other than wood and can be any color.

Electric violas are usually the same size as violins because they use amplifiers and speakers to create a loud sound. They do not need a large soundbox, and some have very small or no soundbox at all. Fewer electric violas are made compared to electric violins. Some violists find it difficult to use an electric viola with a smaller body if they prefer the size or feel of a regular viola. John Cale, a musician from The Velvet Underground, is a well-known electric viola player. He has used it for melodies in his solo music and for background sounds in his work with The Velvet Underground, such as the song "Venus in Furs." Other musicians who play the electric viola include Geoffrey Richardson of Caravan and Ramsey.

Electric violas can have an internal preamplifier or produce an unbuffered signal from a sensor. These signals can be connected directly to an amplifier or mixing board, but they often work better with an external preamp or equalizer connected by a short cable before reaching the sound system. In rock music and other loud styles, electric viola players may use effects like reverb or overdrive.