WEBVTT

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<v Speaker 1>Welcome to the I Can't Sleep Podcast for I help

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<v Speaker 1>you drift off one fact at a time. I'm your host,

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<v Speaker 1>Benjamin Boster, and today's episode is about the viola. The

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<v Speaker 1>viola is a string instrument of the violin family and

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<v Speaker 1>is usually bowed when played. The viola is slightly larger

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<v Speaker 1>than the violin and has a lower sound. Since the

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<v Speaker 1>eighteenth century, it has been the middle or alto voice

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<v Speaker 1>of the violin family, between the violin, which is tuned

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<v Speaker 1>a perfect FIfF higher, and the cello, which is tuned

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<v Speaker 1>an octave lower. The strings from low to high are

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<v Speaker 1>typically tuned to see three G three, E, D four

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<v Speaker 1>and A four. In the past, the viola varied in

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<v Speaker 1>size and style, as did its names. The word viola

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<v Speaker 1>originates from the Italian language. The Italians often used the

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<v Speaker 1>term vio da braccio, meaning literally of the arm. Bradzeau

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<v Speaker 1>was another Italian word for the viola, which the Germans

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<v Speaker 1>adopted as braccia. The French had their own names. Santiem

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<v Speaker 1>was a small viola, olcontre was a large viola, and

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<v Speaker 1>tai was a tenor. Today, the French used the term

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<v Speaker 1>alto a reference to its range. The villa was popular

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<v Speaker 1>in the heyday of five part harmony upon until the

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<v Speaker 1>eighteenth century, taking three lines of the harmony and occasionally

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<v Speaker 1>playing the melody line. Music notation for the viola differs

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<v Speaker 1>from most other instruments and that it primarily uses the

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<v Speaker 1>alto clef. When viola music has substantial sections in a

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<v Speaker 1>higher register, it switches to the trouble clef to make

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<v Speaker 1>it easier to read. The viola often plays the inner

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<v Speaker 1>voices in string quartets and symphonic writing, and it is

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<v Speaker 1>more likely than the first violin to play accompaniment parts.

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<v Speaker 1>The viola occasionally plays a major soloistic role in orchestral

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<v Speaker 1>or chamber music. Examples include the symphonic poem Don Quixote

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<v Speaker 1>by Richard Strauss, the Thirteenth Quartet by Dmitri Shostakovich, and

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<v Speaker 1>a symphony with a main viola line, Rolon Italy by

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<v Speaker 1>Hector Belios. In the earlier part of the twentieth century,

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<v Speaker 1>more composers began to write for the viola, encouraged by

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<v Speaker 1>the emergence of specialized soloists such as Lionel Turtis and

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<v Speaker 1>William Primrose. English composers Arthur Bliss Edwin York poem. Benjamin Dale,

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<v Speaker 1>Frank Bridge, Benjamin Britten, Rebecca Clarke, and Ravon Williams all

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<v Speaker 1>wrote substantial chamber and concert works. Many of these pieces

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<v Speaker 1>were commissioned or written for Turtise, William Walton, Boros Love, Martineau,

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<v Speaker 1>tou Takemitsu, Tibor Surley, Alfred Schnitt and Bella Bartok have

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<v Speaker 1>written well known villa concertos. The concerti by Bartok, Paul

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<v Speaker 1>hindemidt Karl Stommads, George Philip Tillemann, and Walton are considered

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<v Speaker 1>major works of the viola repertoire. Hindemid, who was a violist,

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<v Speaker 1>wrote a substantial amount of music for viola, including the

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<v Speaker 1>Concerto der Schwananderer. The viola is similar in material in

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<v Speaker 1>construction to the violin. A full size viola's body is

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<v Speaker 1>between twenty five and a hundred millimeters longer than the

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<v Speaker 1>body of a full size violin was an average length

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<v Speaker 1>of forty one centimeters. Villas for children typically start at

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<v Speaker 1>thirty centimeters. For century, these viola makers have experimented with

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<v Speaker 1>the size and shape of violas, often to make a

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<v Speaker 1>lighter instrument with shorter string lengths, but with a large

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<v Speaker 1>enough sound box to retain the sound associated with the instrument.

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<v Speaker 1>Prior to the eighteenth century, a large viola known as

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<v Speaker 1>a tenor was designed to play lower notes. A smaller

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<v Speaker 1>size viola alto viola was used for higher register. Several

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<v Speaker 1>experiments have intended to increase the size of the viola

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<v Speaker 1>to improve sound and harmony. Rmond Ritter's viola alta, which

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<v Speaker 1>measured about forty eight centimeters, was intended for use in

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<v Speaker 1>Wagner's operas. The Tortois model viola, which has wider bouts

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<v Speaker 1>and deeper ribs to promote a better tone, is another

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<v Speaker 1>slightly non standard shape that allows the player to use

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<v Speaker 1>a larger instrument. Many experiments with the acoustics of a viola,

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<v Speaker 1>particularly increasing the size of the body, have resulted in

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<v Speaker 1>a much deeper tone, making it resemble the tone of

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<v Speaker 1>a cello. Since many composers wrote for a traditional size viola,

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<v Speaker 1>particularly in orchestral music, changes in the tone of a

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<v Speaker 1>viola can have unintended consequences upon the balance and ensembles.

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<v Speaker 1>One of the most notable makers of viola's of the

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<v Speaker 1>twentieth century was Englishman A E. Smith, whose violas are

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<v Speaker 1>sought after and highly valued. Many of his violas remain

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<v Speaker 1>in Australia, his country of residence, where, during some day

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<v Speaker 1>decades the violas of the Sydney Symphony Orchestra and a

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<v Speaker 1>dozen of them in their section. More recent and more

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<v Speaker 1>radically shaped innovations have addressed the ergonomic problems associated with

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<v Speaker 1>playing the viola by making it shorter and lighter while

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<v Speaker 1>finding ways to keep the traditional sound. These include the

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<v Speaker 1>Auto Rida's cutaway viola, which has one shoulder cut out

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<v Speaker 1>to make shifting easier, the Oakley fiola, which has two

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<v Speaker 1>extra bouds. Viol shaped vilas such as Joseph Curtain's Evia model,

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<v Speaker 1>which also uses of movable neck and maple veneered carbon

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<v Speaker 1>fiber back to reduce weight, vila's played in the same

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<v Speaker 1>manner as cellos, and the eye catching dolly esque shape

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<v Speaker 1>apes of both Bernard Sabatiers violas and fractional sizes which

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<v Speaker 1>appeared to have melted, and David Rivinus's Pellegrina model viola.

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<v Speaker 1>Other experiments that deal with the ergonomics versus sound problem

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<v Speaker 1>have appeared. The American composer Harry Parch fitted a viola

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<v Speaker 1>with a cello neck to allow the use of his

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<v Speaker 1>forty three toned sco called the adapted viola. Bluetiers have

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<v Speaker 1>also created five stringed vilas, which allow a greater playing range.

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<v Speaker 1>A person who plays a viola is called a violist

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<v Speaker 1>or a viola player. The technique required for playing a

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<v Speaker 1>viola has certain differences compared with that of a violin,

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<v Speaker 1>partly because of its larger size. The notes are spread

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<v Speaker 1>out further along the finger board, although they do not

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<v Speaker 1>usually require different fingerings. The viola's less responsive strings and

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<v Speaker 1>the heavier bow warnt a somewhat different bowing technique, and

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<v Speaker 1>a violus has to lean more intensely on the strings.

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<v Speaker 1>The viola is held in the same manner as the violin, However,

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<v Speaker 1>due to its larger size, some adjustments must be made

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<v Speaker 1>to accommodate. The viola, just like the violin, is placed

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<v Speaker 1>on top of the left shoulder, between the shoulder and

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<v Speaker 1>the left side of the face. Because of the viola's size,

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<v Speaker 1>violas with short arms tend to use smaller sized instruments

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<v Speaker 1>for easier playing. The most immediately noticeable adjustments that a

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<v Speaker 1>player accustomed to playing the violin has to make are

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<v Speaker 1>to use wider spaced fingerings. It is common for some

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<v Speaker 1>players to use a wider and more intense vibrato in

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<v Speaker 1>the left hand, facilitated by employing the fleshier pad of

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<v Speaker 1>the finger rather than the tip, and to hold the

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<v Speaker 1>bow and right arm further away from the player's body.

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<v Speaker 1>A violist must bring the left elbow further forward or

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<v Speaker 1>around so as to reach the lowest string, which allows

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<v Speaker 1>the fingers to press firmly and create a clearer tone.

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<v Speaker 1>Different positions are often used, including half position and most commonly,

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<v Speaker 1>third position. The viola is strung with thicker gage strings.

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<v Speaker 1>In the violin, this combined with its larger size and

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<v Speaker 1>lower pitch range, results in a deeper and mellower tone. However,

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<v Speaker 1>the thicker strings also mean that the viola responds to

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<v Speaker 1>changes in bowing more slowly. Practically speaking, if a violist

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<v Speaker 1>and violinists are playing together, the violist must begin moving

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<v Speaker 1>the bow a fraction of a second sooner than the violinist.

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<v Speaker 1>The thicker strings also mean that more weight must be

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<v Speaker 1>applied with the bow to make them vibrate. The viola's

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<v Speaker 1>bow has a wider band of horsehair than a violin's bow,

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<v Speaker 1>which is particularly noticeable near the frog or heel. In

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<v Speaker 1>the UK, viola bows at seventy to seventy four grams

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<v Speaker 1>are heavier than violinbows. The profile of the rectangular outside

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<v Speaker 1>corner of a viola bow frog generally is more rounded

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<v Speaker 1>than the violin bows. The viola's four strings are normally

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<v Speaker 1>tuned in fifths. The lowest string is C and octave

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<v Speaker 1>below middle C, with G, D and A above it.

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<v Speaker 1>This tuning is exactly one fifth below the violin, so

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<v Speaker 1>that they have three strings in common G, D and A,

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<v Speaker 1>and is one octave above the cello. Each string of

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<v Speaker 1>a viola is wrapped around a peg near the scroll

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<v Speaker 1>and is tuned by turning the peg. Tightening the string

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<v Speaker 1>raises the pitch. Loosening the string lowers the pitch. The

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<v Speaker 1>A string ring is normally tuned first to the pitch

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<v Speaker 1>of the ensemble, generally four hundred to four hundred and

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<v Speaker 1>forty two hertz. The other strings are then tuned to

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<v Speaker 1>it in intervals of fifths, usually by bowing two strings simultaneously.

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<v Speaker 1>Most violas also have adjusters fine tuners that make finer

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<v Speaker 1>pitch adjustments. Some violas will choose to only have one

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<v Speaker 1>fine tuner on the A string mothers choose to have

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<v Speaker 1>fine tuners on all strings. These adjust the tension of

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<v Speaker 1>the string viola rotating a small knob above the tailpiece.

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<v Speaker 1>Such tuning is generally easier to learn than using the pegs,

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<v Speaker 1>and adjusters are usually recommended for younger players and put

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<v Speaker 1>on small are volas, though pegs and adjusters are usually

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<v Speaker 1>used together. Some violas reverse the tuning of the C

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<v Speaker 1>and G strings so that the thicker C string does

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<v Speaker 1>not turn so severe an angle over the nut, although

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<v Speaker 1>this is rare. Small temporary tuning adjustments can also be

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<v Speaker 1>made by stretching a string with the hand. A string

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<v Speaker 1>may be tuned down by pulling it above the fingerboard,

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<v Speaker 1>or tuned up by pressing the part of the string

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<v Speaker 1>in the peg box. These techniques may be useful in

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<v Speaker 1>performances such as live concerts, reducing the dissonance of an

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<v Speaker 1>out of tuned string or viola until a proper opportunity

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<v Speaker 1>to tune. The tuning C three G three D four

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<v Speaker 1>A four from lowest to highest is used for the

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<v Speaker 1>great majority of all viola music. The strings are tuned

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<v Speaker 1>perfect fifths apart. However, other tunings are occasionally employed, both

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<v Speaker 1>in classical music where the technique is known as scordatura

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<v Speaker 1>and in some folk styles. Mozart, in his Simfonia Concertat

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<v Speaker 1>for violin, viola and orchestra in E flat, wrote the

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<v Speaker 1>violin part in D major and specified that the violis

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<v Speaker 1>raises the strings in pitch by a semitone. He probably

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<v Speaker 1>intended to give the viola a brighter tone so the

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<v Speaker 1>rest of the orchestra would not overpower it. Turtis, in

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<v Speaker 1>his transcription of the elgard Chelo Concerto, wrote the slow

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<v Speaker 1>movement with the C string tuned down to B flat,

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<v Speaker 1>enabling the viola to play one passage and octavelower. A

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<v Speaker 1>renewal of interest in the viola by performers and composers

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<v Speaker 1>in the twentieth century led to increased researche devoted to

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<v Speaker 1>the instrument. Paul Hindemid and Vadim Voroskovsky made an early

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<v Speaker 1>attempt at an organization in nineteen twenty seven was a

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<v Speaker 1>Violis World Union, but it was not until nineteen sixty

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<v Speaker 1>eight was a creation of the Viola Forschungskazevschoft now the

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<v Speaker 1>International Viola Society IVS that a lasting organization took hold.

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<v Speaker 1>The IVS now consists of twelve chapters around the world,

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<v Speaker 1>the largest being the American Vila Society AVS, which publishes

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<v Speaker 1>the Journal of the American Viola Society. In addition to

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<v Speaker 1>the journal, the AVS sponsors the David Dalton Research Competition

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<v Speaker 1>and the Primrose International Viola Competition. The nineteen sixties also

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<v Speaker 1>saw the beginning of several research publications devoted to the viola,

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<v Speaker 1>beginning with Franz Zehringer's Literature of for Viola, which has

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<v Speaker 1>appeared in several versions, the most recent being in nineteen

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<v Speaker 1>eighty five. In nineteen eighty Maurice Riley produced the first

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<v Speaker 1>attempt at a comprehensive history of the viola in his

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<v Speaker 1>History of the Viola, which was followed by a second

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<v Speaker 1>volume in nineteen ninety one. The iv S published the

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<v Speaker 1>Multi Language Viola Yearbook from nineteen seventy nine to nineteen

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<v Speaker 1>ninety four, during which several other national chapters of the

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<v Speaker 1>IVS published respective newsletters. The Primrose International Vila Archive at

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<v Speaker 1>Brigham Young University houses the greatest amount of material related

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<v Speaker 1>to the viola, including scores, recordings, instruments, and archival materials

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<v Speaker 1>from some of the world's greatest violas. Music that is

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<v Speaker 1>written for the viola primarily uses the alto clef, which

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<v Speaker 1>is otherwise rarely used. The note that resides on the

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<v Speaker 1>lowest line on the alto clev stave is F three,

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<v Speaker 1>whereas in treble clef it is E four. Viola music

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<v Speaker 1>deploys the treble clef when there are substantial sections of

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<v Speaker 1>the music written in a higher register. The auto clef

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<v Speaker 1>indicates the placement of C four on the middle line

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<v Speaker 1>of the staff, as the viola is tuned exactly one

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<v Speaker 1>octave above the cello. Music that is notated for the

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<v Speaker 1>cello can be easily transcribed for auto clef without any

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<v Speaker 1>changes in key. For example, there are numerous editions of

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<v Speaker 1>box cello suites transcribed for viola. The viola also has

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<v Speaker 1>the advantage of smaller scale length when compared to the cello.

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<v Speaker 1>This means that the stretches needed by cellis to play

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<v Speaker 1>certain nodes are easier to achieve on the viola. However,

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<v Speaker 1>occasional changes must be made due to differences in the

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<v Speaker 1>ways that the two instruments are played, as well as

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<v Speaker 1>their differences in range. In early orchestral music, the viola

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<v Speaker 1>part was usually limited to filling in harmonies with very

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<v Speaker 1>little melodic material assigned to it. When the viola was

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<v Speaker 1>given a melodic part, it was often duplicated or as

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<v Speaker 1>in unison, with the melody played by other strings. The

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<v Speaker 1>Brandenburg Concertos, a set of concherity Grossy composed by j Spot,

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<v Speaker 1>are unusual for their time and their use of viola.

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<v Speaker 1>The third Concerto Grossos, scored for three violins, three violas,

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<v Speaker 1>three cellos and baso continuo, requires virtuosity from the violas. Indeed,

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<v Speaker 1>viola one has a solo in the last movement, which

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<v Speaker 1>is commonly required in orchestral auditions. In the six Concerto

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<v Speaker 1>Grosso Brandimber Concerto number six, scored four two violas, concertini, cello,

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<v Speaker 1>two violas, ta gamba and continuo, the two violas play

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<v Speaker 1>the primary melodic roles. Bach also used this unusual ensemble

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<v Speaker 1>in his cantatas Gleigfi der regnun schni fon Himufeld b

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<v Speaker 1>w V eighteen and Mancherzo Schwimdemblut b w V one

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<v Speaker 1>ninety nine, in which the corral is accompanied by an

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<v Speaker 1>oblagato viola. There are a few Baroque in Classico concerti,

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<v Speaker 1>such as those by Georg Philip Telemann, one for solo

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<v Speaker 1>viola being one of the earliest viola concertos known, and

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<v Speaker 1>one for two violas Alassandro Rola, Rose, Anton Hofmeister and

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<v Speaker 1>Karl Stommetz. The viola plays an important role in chamber music.

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<v Speaker 1>Mozart used a viola in more creative ways when he

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<v Speaker 1>wrote his six string Quintets. The viola Quintets used two violas,

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<v Speaker 1>which frees them, especially the first viola for sola passages,

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<v Speaker 1>and increases the variety of writing that is possible for

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<v Speaker 1>the ensemble. Mozart also wrote for the viola in his

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<v Speaker 1>Sinfonia Concertante, a set of two duets for violin and viola,

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<v Speaker 1>and the Kegelstadt Trio for viola, clarinet and piano. The

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<v Speaker 1>young Felix Mendelssohn wrote a little known viola sonata in

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<v Speaker 1>C minor without opus number, but dating from eighteen twenty four.

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<v Speaker 1>Robert Schumann wrote his Merchembilde for viola and piano. He

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<v Speaker 1>also wrote a set of four pieces for clarinet, viola

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<v Speaker 1>and piano marcanezzelomen Max Brooke wrote a romance for viola

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<v Speaker 1>and orchestra. His Opus eighty five, which explores the emotive

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<v Speaker 1>capabilities of the viola's timbre. In addition, his eight pieces

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<v Speaker 1>for clarinet, viola and piano Opus eighty three features the

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<v Speaker 1>viola in a very prominent solo aspect throughout. His Concerto

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<v Speaker 1>for Clarinet, viola and Orchestra Opus eighty eight has been

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<v Speaker 1>quite prominent in the repertoire and has been recorded by

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<v Speaker 1>prominent violas throughout the twentieth century. From his earliest work,

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<v Speaker 1>Brahms wrote music that prominently featured the viola. Among his

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<v Speaker 1>first published pieces of chamber music, the sexteds for strings

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<v Speaker 1>Opus eighteen and Opus thirty six contained what amounts to

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<v Speaker 1>solo parts for both violas. Late in life he wrote

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<v Speaker 1>two greatly admired sonatas for clarinet and piano Zopas one twenty.

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<v Speaker 1>He later transcribed these works for the viola. Brahms also

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<v Speaker 1>wrote two songs for voice, viola and piano Opus ninety one,

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<v Speaker 1>Gestilta Seenzucht and Geislikisveganlid as presents for the famous violinist

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<v Speaker 1>Josef Joachim and his wife Emily d Vorjack played the

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<v Speaker 1>viola and apparently said that it was his favorite instrument.

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<v Speaker 1>His chamber music is rich in important parts for the viola.

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<v Speaker 1>The viola occasionally has a major role in orchestral music,

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<v Speaker 1>a prominent example being Ricard Strauss's tone poem Don Quixote

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<v Speaker 1>or Solo cello and viola and orchestra. Gabrielforret's Requiem was

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<v Speaker 1>originally scored in eighteen eighty eight with divided viola sections,

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<v Speaker 1>lacking the usual violin sections, having only a solo violin

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<v Speaker 1>for the sonctus. It was later scored for orchestra with

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<v Speaker 1>violin sections and published in nineteen o one. Recordings of

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<v Speaker 1>the older scoring with violas are available. While the viola

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<v Speaker 1>repertoire is quite large, the amount written by well known

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<v Speaker 1>pre twentieth century composers is relatively small. There are many

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<v Speaker 1>transcriptions of works for other instruments for the viola, and

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<v Speaker 1>the large number of twentieth century compositions is very diverse.

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<v Speaker 1>In the earlier part of the twentieth century, more composers

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<v Speaker 1>began to write for the viola, encouraged by the emergence

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<v Speaker 1>of specialized soloists such as Turtise, Englishman, Arthur Bliss, Edwin

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<v Speaker 1>York Bowen, Benjamin Dale and Raefon williams All wrote chamber

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<v Speaker 1>and concert works for Tourtoise. William Walton, Boslav Martineau and

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<v Speaker 1>Bellabartuk wrote well known viola concertos. Hendemann wrote a substantial

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<v Speaker 1>amount of music for the viola, Being himself a violist,

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<v Speaker 1>he often performed his own works. Claude W C's Sonata

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<v Speaker 1>for Fluid, Vila and harb has inspired a significant number

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<v Speaker 1>of other composers to write for this combination. The viola

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<v Speaker 1>is sometimes used in contemporary popular music, mostly in the

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<v Speaker 1>alvant garde. John Kale of The Velvet Underground used the

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<v Speaker 1>viola as to some modern groups such as alternative rock

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<v Speaker 1>band Ten Thousand Maniacs, Imagine Dragons, Folk duo John and Mary,

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<v Speaker 1>British Seapower, The Airborne Toxic Event, Marillion, and others, often

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<v Speaker 1>with instruments in a chamber setting. Jazz music has also

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<v Speaker 1>seen its share of violas, from those used in string

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<v Speaker 1>sections in the early nineteen hundreds to a handful of

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<v Speaker 1>quartets and soloists emerging from the nineteen sixties onward. It

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<v Speaker 1>is quite unusual, though, to use individual bode string instruments

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<v Speaker 1>in contemporary popular music To amplify the sound produced. Regular

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<v Speaker 1>acoustic violas are fitted with a piezo electric pickup. Specially

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<v Speaker 1>designed electric villas have little or no body, unlike traditional violas.

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<v Speaker 1>They can be made of materials other than wood and

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<v Speaker 1>of any color. Electric vilas are mostly violin sized, as

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<v Speaker 1>they use the amp and speaker to create a big sound,

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<v Speaker 1>so they do not need a large soundbox. Indeed, some

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<v Speaker 1>electric violas have little or no soundbox and thus rely

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<v Speaker 1>entirely on amplification. Fewer electric villas are available than electric violins.

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<v Speaker 1>It can be hard for violas who perfer for a

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<v Speaker 1>physical size or familiar touch references of a viola sized

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<v Speaker 1>instrument when the mist use an electric viola that uses

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<v Speaker 1>a smaller violin sized body. John Kale, formerly of The

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<v Speaker 1>Velvet Underground, is one of the more notable users of

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<v Speaker 1>such an electric viola, and he has used them both

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<v Speaker 1>for melodies in his solo work and for drones in

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<v Speaker 1>his work with The Velvet Underground. Other notable players of

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<v Speaker 1>the electric viola are Jeffrey Richardson of Caravan and Ramsey.

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<v Speaker 1>Instruments may be built with an internal pre amplifier or

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<v Speaker 1>may put out an unbuffered transducers signal. While such signals

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<v Speaker 1>may be fed directly to an amplifier or mixing board,

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<v Speaker 1>they often benefit from an external preamp equalizer on the

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<v Speaker 1>end of a short cable before being fed the sound system.

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<v Speaker 1>In rock and other loud systems, the electric viola player

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<v Speaker 1>may use effects units, such as reverb or overdrive,