I offer violas that aim to address an individual’s particular preferences and requirements. The model is conceived from basic harmonic proportion, the vibrating string of the instrument the starting point of the design. Built to achieve a responsive instrument that is both acoustically and aesthetically rewarding, these instruments maintain the continuity of form found in the traditional violin group. Timbre will naturally change from one size to the next, but the playing characteristic and overall quality of sound production should extend fully across the range, as each viola shares the same acoustical principals.
The concept of this design is for a cohesive group of violas, rather than varying individual patterns. I aim to produce a contemporary group of violas that naturally respond to the needs of today’s professional player, offering a choice of both size and voice.
Perhaps the viola today finds itself in a not dissimilar position to that of the violin of the period c.1650 to c.1750. During this ‘golden age’ the violin consort was adapted and developed in direct response to changing musical styles as the true polyphonic potential of the group began to be recognised. The current challenge for contemporary Luthiers is to now produce a contralto instrument which will truly represent the middle voice that separates the soprano from the bass.
The larger instruments, from 16¾ in., to 17½ in., offer powerful ‘tenor’ timbres, while the smaller models display exceptional sonority. The individual choice of instrument, however, is determined by both personal preference and playing style. All of the violas offer a powerful tone and good projection; each individual model displaying qualities distinctive of the violas unique tonal colour.
The larger instruments, from 16¾ in., to 17½ in., offer powerful ‘tenor’ timbres, while the smaller models display exceptional sonority. The individual choice of instrument, however, is determined by both personal preference and playing style. All of the violas offer a powerful tone and good projection; each individual model displaying qualities distinctive of the violas unique tonal colour.
Violas, from 15¼ in., to 17½ in. are offered, characterizing the contralto form of instrument considered to represent the modern standard.
A Brief History Of TheViola
Viola Size
Why are there different sizes for the viola?
Body & string lengths.
A modern adaptation of an original concept.
Inspired by necessity.
Follow the construction of a viola from strt to finish
“Modern viola design should, whilst maintaining the unity of form of the traditional violin family, respond to the demands of the player engaged in today’s performance
Viola - what size?
Undoubtedly, there is a degree of confusion, amongst both makers and players, surrounding this issue. Unlike the violin or cello, there is currently no accepted ‘standard’, either regarding body dimension, string length, or indeed the accepted timbre of the viola, which of course is directly related to the violas size.
Undoubtedly, there is a degree of confusion, amongst both makers and players, surrounding this issue. Unlike the violin or cello, there is currently no accepted ‘standard’, either regarding body dimension, string length, or indeed the accepted timbre of the viola, which of course is directly related to the violas size.
The viola has always enjoyed the most unusual attribute of having two extremes of size which share a common tuning. It is just that today we regard the viola as a ‘singular’ voice, something to which the viola does not easily lend itself, and the reason why later attempts to reach an optimum ‘standard’ have proved illusive. Why should the relative qualities of the distinctive alto and tenor voices be compromised in favour of a singular idealized standard? Indeed, players come in different sizes, so why shouldn’t the instruments reflect this and embrace the subtle differences in timbre also?
All viola sizes are indeed in current demand, and consideration of the qualities and characteristics of the viola across a broad range of tonal sizes have been central to this design. I regard my approach as being ‘traditional’ in the sense that it has been driven by a very practical workshop need to be able to produce a scaled group of instruments. An aim, I must say, which is difficult to achieve by simply making copies of individual historical instruments. The modern Luthier concerned with viola making needs to have a thorough understanding of the design principals which underlie their craft.
I am able to offer a highly individual and original group of violas, which extend in available size from the smaller sizes characterized by the popular 15 ¾ in.., model, to the larger, more characteristically tenor style of viola
The inspiration behind the original model that I have developed is the unique inheritance of the qualities of the violas traditional variation in size which enable this instrument to encompass such a broad tonal range. I strongly feel that at this time the viola should be recognised as a developing instrument, one that must respond to the demands of both players, composers and also realise audience expectations.
