14 1/4 inch (36.2cm) mini-viola  

March 2008

This viola is a commission from Laura, who learns the viola at the String Training Course of the Guildhall School of Music .  She has always played the viola, most recently on one of my 13 1/4 inch instruments, which she has now outgrown.

I've chosen a lovely slab-sawn maple back with a subtle rippling figure, and a good, even-grained spruce front.  The choice of wood for these small instruments is important; it needs to be strong but light to help make the best-sounding viola.  The first job is to rough out the shape of the arching from the solid wood.

The next stage is to inlay the purfling.  This is made from three strips of wood glued together; in this case, poplar for the inner white and dyed pearwood for the black.  This mixture gives a nice flexible strip which bends easily to the curves of the viola.  I cut a groove around the edge of the instrument and then glue it in.

Once the glue is dry, I can finish the shape of the arching.  For this viola, I like a fairly high arch, strong arch, which I think helps give the finished viola a more complex quality of sound.

The inside of the instrument is then hollowed out, initially using a large gouge, then finishing with small planes and scrapers.  For these small violas, it's critical to get the thicknessing right as it's one of the aspects that contributes the most to the final sound.  The actual measurements for thickness and weight will vary for each instrument depending on the weight and stiffness of the wood and the strength of the arching.  I aim to make these as light and flexible as I reasonably can.

The soundholes of the viola are cut using circle-cutting tools for the eyes and a knife for the rest.  Their size and positioning is another aspect which differentiates these small violas from violins; the soundholes are quite long, and widely spaced, much as you'd find on a larger viola.  This helps to create the warmer, deeper sound.

I build the ribs for this model directly on to the back of the viola.  Firstly I glue the back temporarily onto a plywood former, to stop it from twisting, and then I glue the top and bottom blocks in position on the back.  Then I bend the ribs, which are made from thin strips of maple, and glue them in place.

The bass-bar is fitted inside the front, and runs under the C string of the viola.  It helps to resist the force of the bridge, and supports the sound of the lower strings.  

I've also been working on the head of the viola.  This is a simple, light shape, which goes well with the the streamlined body.  

Having finished the front and the ribs, it's time to glue them together.

When you come towards the end of making an instrument (the woodwork part, not the varnishing) there's a lovely feeling of it taking shape very quickly and gaining its own personality.  So once the body was together, I could fit the neck and shape it.  I pay a lot of attention to the neck shape, so that it feels slim, smooth  and comfortable in the hand.

Now the viola is finished "in the white", prior to varnishing.  The next stage is quite a slow one.  First I will stain the wood a golden-brown, colour  which gives warmth and life to the subsequent varnish.  Then I seal the wood to protect it, and finally put on two coats of coloured varnish.  The varnishes I use are all oil-based, made from ingredients that were known and used in the 18th century.

May 2008

The viola is finished!  And sounding good - powerful and even, with a good, strong C string which can take a good attack.

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