ABSTRACT
The weight of a 'classic' viol alone is eloquent of its intermediate position between bowed and plucked instruments. Its remarkable lightness compared with, say, the cello betrays its close relationship with the lute. Experience has shown, however, that soundboards made according to this technique can also subside under the pressure of the bridge. But certainly this technique is more parsimonious, as the laths are cut more narrowly at the outset, while the use of narrow strips ensures a more efficient use of materials, which can have a crucial impact on cost, especially with large instruments. A crucial point in determining the dynamics of a viol is the way the neck is joined to the body, as the neck-joint must be able to withstand the not inconsiderable tensioning-force of six or seven strings drawing it forwards. Winding the strings solved a problem that had caused headaches for performers on low-pitched instruments right from the very beginning, i.e. for about 200 years.
