ABSTRACT
Within the family of bowed string instruments, the viola is “the middle child.” Its lower register extends to low C (an octave below middle C), and its higher register reaches above high G (one above the C3), which makes it suitable for covering both the alto and the tenor voices. While this versatility was appreciated in the five-part harmony of the sixteenth and seventeenth centuries, in the eighteenth and nineteenth centuries, the viola was eclipsed by the violin and cello. Its subordinate role discouraged the development of the pedagogical approaches and didactic literature specific to viola until the first half of the twentieth century when more and more composers began writing for the instrument. The early recognition of the viola as an instrument equal to others reflected the unique technical demands upon viola players, particularly regarding instrument and bow hold, fingerings, shifting, vibrato, and tone production. Several significant viola virtuosos and teachers contributed to establishing pedagogical approaches that are well suited to the distinct qualities of the viola.
