15 inch (38cm) two-cornered viola |
return to work in progress May 2008 This viola has become one of my most popular models - it's a good size for young players and makes a really good powerful, projecting sound with a focussed and rich C string. This one is a commission from Catriona, a good 12-year old viola player and member of the National Children's Orchestra.
June 2008
I've made the fingerboard and fitted the neck. The final shaping of the neck has been done with great care; I've made it narrow and slender so that it will be comfortable for Catriona. The viola is now finished "in the white", ready for the varnishing process.
July 2008
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One
of the ways I maximise the power and responsiveness of these violas is
to make a steam-bent front, rather than carving from a solid block of
wood. The picture shows the pre-bent wood, ready to be joined to
make the front.
The
back has been carved from a block of well-figured maple that Catriona
and her family have picked out from my stocks. This photo shows
the process of inlaying the purfling into a groove cut around the edge
of the back.
The
purfling is now glued to both back and front, and I've finished the
arching. Good arching shapes are critical for viola sound - I like
the arching to be reasonably high, and to use good, strong shapes,
fairly full to the edges.
I've
now hollowed out the back and front to their final thicknesses.
This is a tricky stage - each piece of wood is different in terms of
strength and density, so I have to think carefully about how much wood
to remove to get the right balance of weight and stiffness. This
is critical for the final sound of the viola. 
The
ribs of the viola are made of thin strips of maple which are bent and
glued directly on to the back. There are blocks of spruce at the
top, bottom and corners to support the rib structure.
While
working on the rib assembly, I've made more progress with the front, and
cut the f-holes.
The
rib assembly is now finished - the linings have been fitted and shaped,
and the blocks cut down to their final size. The inside of the
front is finished too, with the bass bar fitted, so all is ready to
close the soundbox.
I
make a simple head to match the streamlined body, and with the open
pegbox it's light in weight too.
I've
varnished the viola following my usual procedure. First I stained
the viola a rich golden-brown, to tone down the cold wh
iteness
of the bare wood, and then sealed it to prevent the colour varnish from
staining the wood. Finally the viola had two coats of an intense
red-brown oil varnish. I've set it up carefully using handmade
fittings and it's sounding good - very resonant and strong.