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The viola is often considered the ‘lost instrument’ because so few people know about it. It is very important in the orchestra, however, providing a deeper, richer sound and harmonizing with the violins. Sometimes it even has the melody. Because it is lower in tone, it goes down where violins can’t go and has a much different sound than cellos.
Violinists often play very high, using first through ninth positions, sometimes even above this. This is mainly because their parts are the melody and many composers wrote very high music (as this sounds very beautiful and serene to the human ear). Violists don’t go nearly as high. They use mainly the first through fifth positions (especially second and third). They rarely go higher than fifth, though it is possible to go up to ninth or even eleventh position.
These positions are not very difficult (especially fifth and below), but they must be practiced quite a bit in order to become natural. Second position is reached by sliding the first finger up to where the second finger is. Third position is then reached from sliding the first finger (in first position) up to where the third finger was. From third, to reach fifth, slide the first finger up to where the third finger was. Third is the most common position and is the first ‘shifting’ position learned. Etudes and little shifting exercises (such as playing open string, first finger, second finger, third finger, first finger, then shifting up to third position) should be practiced often in order for these shifts to become almost silent and naturally gliding to the player.
When placing fingers down, or shifting, fingers must be placed firmly, but the hand must not be tense. The thumb must remain rounded and the hand position open, until seventh position (at which time the hand position will change due to it’s being close to the neck). The first finger should not touch the neck. When the hand is in position around the neck, the palm must be away from the instrument, not flat against the neck as many beginners have the tendency to do. The arm and hand must be down, not bent at the wrist. This is necessary for vibrato later.
When vibrato is learned, the player should not begin on the instrument. A small film canister filled with rice is a good tool. It should be held on either end between the thumb and index finger of the left hand. Grip the left hand right below the wrist with the wrist with the right hand. Flip the left wrist slowly back and forth, keeping the rest of the arm still (this is wrist vibrato, which is usually favored. It’s actually better on the violin because a viola has a thicker neck, but most violists practice it anyway. Arm vibrato is when the wrist is kept still and the vibrato moves from the elbow).
This is a very slowed version of the vibrato motion. Slowly double the speed until it is a rapid back-and-forth motion with constant shaking of the rice. After this motion has been learned, the skill can be moved to the instrument. Place the instrument on the shoulder, in position, and place the hand in third position. Rest the arm against the instrument so the hand isn’t holding it as much, which will free to do vibrato. Use either the second or third finger to practice the motion.
This will be unnatural and stiff for awhile, especially when moved to first position. Eventually, one will learn to hold the instrument on the shoulder stiffly enough that the hand isn’t really holding it at all anymore. The wrist will be loose and vibrato will be easier. The first finger must be away from the neck (on the side), because it cannot vibrate if it’s rubbing up against the instrument.
Practice vibrato in first and/or third position everyday. After the motion is more natural, try it with the bow to see what it sounds like. The tone will be bigger and better. A really good exercise for vibrato is to do the motion for one full minute on each finger before each practice, everyday. This does hurt the hand but will get even the most reluctant player to loosen up his/her hand and do vibrato. The more it’s done, the easier it will get, as is true with everything.
In general, concentrate on having the bow in the right position (closer to the bridge) with appropriate pressure. Tilt the bow slightly as it changes from up to down in order to help the vibration of the string. This will create a smoother, richer sound. All of these techniques will develop sound and playing ability.
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