Exploring the adaptations made by violinists studying the viola as second instrument

Abstract

Three areas of adaptation, namely physical, technical and cognitive, have to be considered if a successful transition from the violin to the viola is to be achieved. This qualitative study followed an interpretative phenomenological design. Data was collected by conducting semi-structured interviews with six participants from Pretoria, South Africa, all of whom had taken up the viola after becoming proficient in playing the violin. The aim of the study was to explore the physical, technical and cognitive adaptations made by violinists studying the viola as a second instrument. Findings derived from the analysed data were divided into five superordinate themes. The first superordinate theme, "Physical differences between the violin and the viola as instruments", revealed that, because the sizing of the viola is not standardised, the chosen size should be synchronised with the physique of the violist. The size and weight of the viola in the transition process were also regarded as representing a significant adaptation. The second superordinate theme pertains to left-hand technique as affected by the physical differences between the instruments. Although there is a similarity between violin and viola techniques, subtle technical differences distinguish them. Topics occurring in this section were elements of fingering, the longer viola fingerboard, shifting, and vibrato. The following superordinate theme, “Right-hand technique as affected by the physical differences between the instruments”, revealed the challenging adaptation involved in acquiring the correct bowing technique for the viola. This section further investigated issues relating to bow hold, the concept of transmitting natural weight rather than artificial pressure into the bow, and the resistance by the viola strings. It was suggested that, once a viola-specific bowing technique had been learned, violin bowing technique would be improved. Injuries and pain caused by the transition to the viola represented the fourth superordinate theme, particularly emphasising the issue of set-up, which, in the case of choosing an appropriate viola, should be customised according to the unique physique of the player. The fifth and final superordinate theme, "Methods for mastering the alto clef", showed that transitioning violists apply methods both requiring note-reading and not doing so. The findings indicated that methods which do not require the active reading of notes on the stave are not as effective as those in which the performer learns to identify note names and pitches. The study concluded that an understanding of the physical, technical and cognitive adaptations required for a successful transition process, should be cultivated by the transitioning violist.