JAVS Spring 2025

assumption cannot be made without considering other measurements, such as fingerboard projection, arching, and bridge height. The C-bouts also vary from instrument to instrument, and their shape should be a concern when the C-bout design, in combination with the corners, restricts the clearance of the bow. Ideally, the C-bout should provide enough space for the bow and the player’s hand to reach all four strings in all five contact points.

In Figure 3, a viola with a quite closed-shaped middle bout and prominent corners blocks the player’s right hand from getting closer to the bridge when playing contact points 1 and 2 in the frog region. This issue may occur not because of a poorly designed C-bout, but because the string projection and bridge are proportionally too low, and also more commonly if the player has larger hands, as it may get in the way of the viola’s body and corners when playing closer to the bridge.

Figure 3. C-bout shape/corners versus bow clearance.

posture and neck alignment. Violists with short arms and neck are prone to face difficulties playing a viola with a large lower bout and high sides. Of course, the characteristic of the lower bout will interact differently with each violist and playing style, and posture will have a great impact on the issue. A lower bout larger than 25cm (250mm) or 10 inches can be considered on the large side. The 25cm and over lower bout measurement is more common in large tenor violas, or on modern smaller violas designed to compensate for a shorter body length. Rib Height, Neck, and Weight Considerations Rib height plays a crucial role in comfort, particularly for players with shorter necks. Excessively tall ribs, in combination with high arching, can create an uncomfortable playing experience by raising the viola too high under the chin. Similarly, the thickness and shape of the neck influence left-hand agility. A thick neck can increase tension, making shifts and vibrato more challenging.

Lower Bout The lower bout can impact playability due to its dimension. The width of the lower bout is proportionally larger than the upper bout, and some modern viola makers have designed an enlarged lower bout to increase the acoustic box. The lower bout can have a more rounded or squared shape, depending on maker and model. Moreover, violas with a proportionally longer lower bout such as some of the Brescian and unorthodox instruments, will have their bridge placed proportionally further from the player’s face, which necessitates a more outward right bow hand position. The violist’s body type may also interact negatively with an extra-large lower bout width, especially if the player has narrow shoulders. The large viola’s width will require the player to hold the instrument in a more centered position to give enough clearance to the right arm. In that case, the player must evaluate whether this centered playing position will or will not interfere negatively with the left-hand dexterity. In addition, if a viola has a large lower bout, high ribs, and high arching, the player must check if the extra viola body will not distort the player’s

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Journal of the American Viola Society / Vol. 41, No. 1, Spring 2025