JAVS Spring 2025

Instrument weight is another critical factor. Heavy violas can contribute to shoulder, neck, and back strain over time. Some luthiers, such as Hiroshi Iizuka, have focused on weight reduction by modifying scroll designs and using alternative materials. Testing a viola for an extended practice session or rehearsal is essential to determine whether its weight remains comfortable over long playing periods.

In figure 4, the interaction between the player’s neck and shoulder when holding violas of different rib heights is represented, one a more regular height and another taller. The exaggerated proportions of the larger viola represented are meant to better illustrate the issue.

Figure 4. Rib and arching height relationship with the player.

The rib height can negatively impact the playability of the viola for players with short necks. The arching, or the instrument’s plate belly, also adds height. In fact, the height of an instrument is a combination of rib height, arching (belly), and string projection (or neck projection angle). All three aspects combined will influence not only the player’s right-arm level but also the left hand. The combination of an ergonomically unsuitable viola for a player will require more flexibility of the fourth finger when playing in the first position on the C string for example, as well as a raised arms position when holding the viola. The combination of rib height, string projection, and arching height can be significant in violas of different models. The notion of viola size is also generally associated with the instrument´s height since a taller soundbox under the chin will generate a feeling that the viola is far larger than reality. The Tertis-Richardson viola model is a known example with high rib height, a sharp neck projection angle, and high arching. 11 I tried a Richardson T.R. viola and I quite enjoyed playing it for 5 minutes. After playing some passages and enjoying the lower strings’ powerful resonance, I began feeling discomfort from the massive soundbox under my chin. The large ribs and high arching made it somehow uncomfortable because the instrument felt higher than expected over the shoulder, a characteristic that also greatly impacted my right arm level.

Neck Probably the first thing an experienced player will notice when playing an unknown instrument is the instrument’s neck thickness and shape. While the neck is essentially one piece, it is part of a complex system that involves neck thickness and shape, the string spacing at the upper nut and bridge, the string/ fingerboard projection, and the string height over the fingerboard. All of these components and considerations are part of the same system and must work harmoniously in order to provide ease in playing. A too-thick viola neck is tiring and counterproductive for the left hand and brings discomfort to the hand, building tension over time. For playing violin/viola, the left hand needs to have agility and stamina to endure long periods of vertical and horizontal movements, not to mention the vibrato. To illustrate this issue, Figure 5 below features a delicately slim-shaped 15.5-inch viola. Despite its size, its thick neck and widely spaced strings at the nut make it feel larger than it is. In contrast, a more delicate and thinner neck on a proportionally larger viola (as seen on the left viola) enhances overall comfort and can significantly aid in playing advanced repertoire, particularly for individuals with smaller hands or shorter little fingers.

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

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