H. Sitt PRACTICAL VIOLA METHOD Revised ond Enlarged by . Ambrosio CARL FISCHERe 65 Bloecker Stroat, New York, NY 10012 Compt © 1824 Cat Euchre ‘Anh Ratu Cot Pach LLC. Seat 0362 See ARE ee gaa USA ISBN 0-8258-3389-3Introduction called the Tenor Violin, belongs to the group of stringed in- cendant jointly of the The Viola, «1 struments played with a bow, known as the Viol family. It is a dé Alto and Tenor Violinos, both of which were larger than our present-day Violin. To all app otime played in preéisely the same man- tone quality of ces it is but an overgrown Violin, and ner, positions, fingering and all. While the Viola possesses an individu great breadth and richness, lower strings, this fact ws looked by the earlier composers, who gave it only the lowest notes in company with the Cellos and Basses; the Viols being divided into st and tds, making up a String Trio. Mozart recognized the possibilities of the Viole and not only gave it an independent place in the string ensemble, establishing the String Quartet, but utilized its individual jecially on tt ntirely or tone quality for special solo effect. It has been said that viols players are mostly recruited from the ranks of violinists, it being Jargely only « question of becoming familia: with the alto clef. But some con- sideration must be given to the longer arm reach and greater finger stretches on the vi- ola fingerboard; students with short arms and more especially small bands will experi - ence some cifficulty in mastering the Viola. The increased finger spacing also offers greater possibilities for faulty intonation, so a good ear is Violas vary in size from the large {8th century Gaspar da Salo to the smaller modern French viola, but it is generally conceded 1 fect the tone Hermann Ritter (B. 1849), renowned viola player, invented the s in order to bring about the ideal relationship between pitch of tone and size of instru - ment, but it has aot been a practical success, although its merits were recognized. ‘Tae Viola bow is a counterpart of the violin bow, except that it is heavier, and rather less adapted to the very lightest violin bow strokes, [No finer tribute has ever been paid to the viola than is contained in the following excerpts from the writings of Hector Berlioz, the great authority on orchestration. “Of all instruments in the Orchestra the one whose excellent qualities have been longest mis- appreciated is the viola. It is no lees agile than the violin, The sound of ite strings is peculiarly felling. Ite upper notes are distinguished by their mournfully passionate accent; and its quality of tone, altogether of profound melancholy, differs from that of other instruments played with a bow. Melodies on the high strings of the viola have a marvellous beauty in scenes of arcligious and unique characte: ential as well. the larger the instrument, the more p. Wed Viola - Alta In this method the author, supported by his own practical studies and long experience in teach- Ing,has endeavored to present concisely all that is necessary to enable the student to become a thoroughly good and efficient Viola player, either in the orchestra or in chamber. music; provi - dod that he who chooses this instrument for study, has previously acquired some proficiency it violin playing and a thorough knowledge of the rudiments of musi as088- v1The Viola and its Component Parts 4.The scroll or head 7. The ribs (made of Maple wood) 2. The pegs 8. The F or sound-holes 3.The nut 9. The bridge 4. The neck 10.The tail-piece 5. The finger-board ‘4. The end-pin 6.The top (made of Pine wood) 12. The purfling a0as-v