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Found 82 results

  1. Hi everyone, Dumb question from a violist who has played for awhile but has never done any customization: I want to switch out the Wittner tailpiece for a Hill style on my 15in viola. I found the one I'd like for the price I want on Shar (it's not my main instrument and I'm not going to be performing any solos; just teaching my kiddos but I want it to match my boxwood Teka chin rest, so it doesn't need to be anything crazy expensive). It says "full size", so will it be okay for my instrument? Thanks everyone! I'm learning new things every day!
  2. My mother recently passed and I inherited this viola. I dont know much about it and would like to know its value.
  3. Luis Claudio Manfio has an idea that there should be a book dedicated to violas with 25 good classical violas. Below I have generated a draft list. I first generated the list of 12 luthiers first - only luthiers in the Po River Valley (Genoa/Bologna and up) + Stainer with 3 or more violas listed on Tarisio's Cozio database are included - all born 1660 or before except I also included G.B. Guadagnini (born 1711). So the luthiers list are: 1) Andrea Amati; 2) Pellegrino Di Zanetto; 3) Gasparo da Salo; 4) Girolamo (Brothers) Amati; 5) Giovanni Paolo Maggini; 6) Jacob Stainer;; 7) Andrea Guarneri; 8) Giovanni (Brothers) Grancino; 9) Giovanni Tononi; 10) Antonio Stradivari; 11) Matteo Goffriller; 12) Giovanni Battista Guadagnini. 4 steps follow: include the most "famous" viola of each of the 12 makers ("famous" as in referenced by most sources in the Cozio database); include the most famous uncut contralto viola for each of these 12; try to fill out the range of viola sizes from 15" through 19" at 1/4" intervals as much as possible; and lastly include some "discretionary" adds. The dates below are mostly from Tarisio's database which I feel is a bit shaky, but oh well: 1. Andrea Amati "Charles IX" c.1564 Cremona at Ashmolean; LOB 469.2mm (~18.5") 2. Pellegrino Di Zanetto 1580 (?) Brescia at Chi Mei; LOB 468mm (~18.5") 3. Gasparo "Nathan Gordon" 1580 Brescia with NY Philharmonic; LOB 436mm (~17"1/4) 4. Gasparo "Kievman" c.1580 Brescia ; LOB 392mm (~15"1/2) 5. Maggini "Joyce" 1600 Brescia at Fondazione Pro Canale-Milano; LOB 426mm (~16"3/4) 6. Maggini "Dumas Tenor" 1600 Brescia; LOB 424.5mm (~16"3/4) 7. Maggini 1600 Brescia with Austria National Bank; LOB 413mm (~16"1/4) 8. Gasparo c.1609 Brescia at Ashmolean; LOB 443.8mm (~17.5") 9. Girolamo (Brothers) Amati "Stauffer" 1615 Cremona at Museo del Violino Cremona; LOB 411mm (~16"1/4) 10. Girolamo (Brothers) Amati "Wittgenstein" 1620 Cremona; LOB 430mm (~17") 11. Girolamo (Brothers) Amati c.1620 Cremona at Royal Academy of Music London; LOB 449.5mm (~17"3/4) 12. Andrea Guaneri 1664 Cremona at National Music Museum South Dakota; LOB 482mm (~19") 13. Jacob Stainer "Baron Knoop" 1670 Absam; LOB 424mm (~16"3/4) 14. Andrea Guarneri "Conte Vitale" 1676 Cremona; LOB 419mm (~16"1/2) 15. Jacob Stainer "Hammerle" 1678 Absam in the Herbert Axelrod collection (?); LOB 398mm (~15"3/4) -- note: I am not sure if this is uncut; I want to only include uncut models 16. Antonio Stradivari "Tuscan-Medici Tenor" 1690 Cremona at Istituto Cherubini Florence; LOB 478mm (~18"3/4) 17. Antonio Stradivari "Tuscan-Medici Contralto" 1690 Cremona at Library of Congress; LOB 412.2mm (~16"1/4) 18. Giovanni & Francesco Grancino 1692 Milan; LOB 420mm (~16"1/2) 19. Andrea Guarneri "Primrose, Lord Harrington" 1697 Cremona; LOB 413mm (~16"1/4) 20. Giovanni Tonini c.1699 Bologna; LOB 417mm (~16"1/2) 21. Giovanni Grancino "Max Aronoff" 1707 Milan; LOB 429mm (~17") 22. Matteo Goffriller "Funkhauser" 1710 Venice with Dextra Musica; LOB 406.7mm (~16") 23. Antonio Stradivari "Gibson, Saint Senoch" 1734 Cremona; LOB 411.5mm (~16"1/4) 24. Giovanni Battista Guadagnini "La Parmigiana" 1765 Parma; LOB 381mm (~15") 25. Giovanni Battista Guadagnini "Villa" 1781 Turin with Dextra Musica; LOB 402mm (~15"3/4) Right now there are no ~15"1/4 no ~18" violas; and from second half of the 18th century C.F. Landolfi, P.G. Mantegazza and L. Storioni are missing. Please suggest what classical violas you would swap into the list and what you would swap out! For me, I am tempted to swap in a C.F. Landolfi 1758 Milan with LOB 388mm and swap out G. Tononi's.
  4. I'm hoping to take my viola on an international American Airlines flight - it's in a contoured, standard size BAM case. I've never flown alone with my viola before (I flew in 2014 with my violin as part of a chamber orchestra tour) - would this be possible? If so, does anyone have suggestions for things I should I know/prepare for? Thanks!
  5. Hello folks, Some of you may be familiar with my longish-threads about viola bow buying. You all gave me some sage advice and really helped me understand what my goals are. Rather than continue one of those threads, I would like to start a new discussion based on where those trials (and your advice) led me. I discovered through much comparison that I really can't find an equal for my Georges Tepho bow. Its sound is unparalleled. While a smidge on the heavy side at 72g and in need of a rehair (which might change the balance a bit) It would seem the problem is me. I would like to be worthy of my Tepho and get better at both using the whole bow, playing at the frog, bow distribution in-general, and my intonation. Through my many trials, and had the chance to try a cheap generic carbon fiber bow. While it was inferior in all ways, I did notice that it handled surprisingly well. So, I decided to check out the contenders. I tried the following Carbon Fiber bows: Coda Bow: Luma, Diamond GX, Marquise (x2) JonPaul: Bravo, Avanti, Carrera (flexible) Arcus: P6, M6, Musing C2, C3, C4 (x4), C5 (all round sticks) The first thing I learned is that the lighter the bow, the better I played fast passages, but often sacrificed tone quality. (they sounded thin). For example, the Arcus P6 came in at only 58g (!!!) and was demon on the strings. It actually sounded decent - kinda like a pure tone as opposed to the multiple overtones from a Pernambucco. I discovered that I could better hear my intonation though....My problem with it was that 14 gram difference made it extremely hard coming back to my Tepho - kinda made it feel like bricks and that was a deal breaker (that and the $2.5k price...) The heavier bows played and sounded more like wood, and that includes the JonPaul Carrera and the Codabow Marquise. They were 71g and 70g respectively. The Carerra was the flexible version and was too soft for my instrument - but it sounded great. The Marquise is better balanced with a slightly stiffer stick and a similar good wood-like sound, but not nearly as precise as the lighter bows. The balance was good and it would make a great single bow for a player or for me it would make a nice true backup to my Tepho in terms of performance in public. With it being 70 grams, the weight difference is negligible and I could go back and forth between it and my Tepho without huge adjustments. The middleweights that were contenders for me were most of the Musing line of Arcos bows. Coming in at between 62g-63g each, they had better tone than the P & M Series bows, but could also play fast passages with ease thanks to their good balance and stiff sticks. I determined that the C4 was the best of the line in terms of sound/value. I would describe its tone as being very clear (similar to the p6), but having more character. Not a bow for public performance I think (especially compared to my Tepho), but not bad at all. I think what I like about this bow is it allows me to work through difficult passages during practice with relative ease. Kinda like playing the viola with a violin bow, but one able to really pull tone out of the bottom two strings. I noticed right away that I did not have to worry about my bow arm when playing with it and could focus on my intonation, fingerings, bowings, etc.. Also, for what it's worth, It doesn't sound so great as to "seduce" me with luscious frequencies (like my Tepho) and I inevitably wander away from the mast to familiar tunes. Rather, I can stick to the business at-hand. It may be my imagination, but after playing for some time with the Musing C4, and then coming back to my Tepho - while I did notice the extra 9-10 grams - I found that it had unlocked difficulties I had had from before and I could play them now suddenly. I do realize this is also the definition of practice, but there was something about the idea of having a "workout" bow that has begun to grow on me. Truly and honestly, I have only one real concern and that is why I am writing today. Many of you can see further down the road than I and I would like your thoughts on this. If my ultimate goal is to play with my Tepho the best I can, am I doing my self a service or disservice by practicing with a lighter, more nimble bow? My greatest fear at this point is no longer being able to play with the Tepho because of the weight. That would be a disaster. It just sounds so good on my viola. My other option is the Marquis. It sounds great & plays great if not as nimbly as the Musing C4. It's closer to my Tepho in terms of balance ad sound, but no where as easy to play as the C4. I kind feel like it's more like a full-size spare tire. You know - get a flat and you can change the the tire without all the speed and safety concerns of a donut. I don't think it is giving me anything as a "workout" bow other than keeping the miles off my Tepho. It does play nice at the frog though and I was able to play better on some difficult passages, but not sure if that's a good enough reason to buy it for my stated purpose. Thoughts?
  6. I think this viola looks interesting. What are your thoughts? https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F113795126199
  7. Hello to all We are selling a large collection of aged tone wood for violin, viola and only one piece for cello the collection dates back to 70's and 80's. Pieces are mixed canadian and european - the Luthier has passed. We would like to sell as a lot however would consider selling in bundles the list of what we currently have. Violin tonewood - $25 each solid pieces - 175 joined - 135 carved violin plates - $25 ea 1/2 pieces - 30 Viola tonewood : 30 pieces $30 each Cello - 1 piece and 4 bridges - $100.00 Scrolls : 20 roughed in and 20 refined - $20 each 3 neck blocks - make me an offer - as seen in the pics Ribs - many many ribs in a variety of lengths - please inquire as I am not sure how many you would want for violin they range from 4" - 12" (over 600 pieces) for cello they are 5" wide and range from 14-24" about 25 pieces dozens of assembly spools(handmade) - would consider an offer Moulds - I currently have about 6 different ones as seen in the pictures - $50 each Please send me notes with your inquiries - I will consider all reasonable offers on pieces as well as the lot - we will adjust the pricing for purchase of the entire lot - please inquire!!! shipping presents challenges - however i am open to appointment times and will gladly help you load!! We are located in Windsor Ontario Canada thank you!
  8. Viola pr0n...Sorry I couldn't spend more timesetting up. It was not exactly crowded, but everyone stood in front of the instruments and talked, not conducive to good picture taking. Masterfully played and commented on by Richard O'Neill. Very well done. 17 Violas. More later.
  9. Dear folks, I am looking for the Gibson Viola Strad poster. I think its P111 Is there anyone out there that might have one they would be willing to share with me, I am happy to pay for it or I can copy it. I started a Gibson viola years ago and lost the poster in a move. Thanks in advance! Frank
  10. My familie's home was just diagnosed with a bed bug infestation. We are having a professional exterminate the home, but I do not know if I need to do anything for my viola. I figure I can leave the case in my home when they do the extermination, but I cannot and will not leave my viola. They heat up our home past 130 degrees Fahrenheit. My question is this, do I need to have my viola cleaned/what do I do to make sure bed bugs are not hiding in my instrument?
  11. I have a viola labeled as a Stefano Scarampella. I assume it has been mislabeled but curious what people think.
  12. Hi everyone! I've just recorded "The Swan" on Viola, and I would love to know what people think of it
  13. Hi there I realise that there's been a lot of discussion around set-up for instruments - but most of what I have read relates to violins and cellos and not a lot of specific viola advice. As violas vary even more than violins, I'm asking for tips from viola makers / experts for my situation. My viola is quite rich and dark sounding, which is lovely on it's own but not useful when trying to cut through in ensembles. It's not quiet but not as powerful as I would like either. There are a lot of resonances and overtones. I used to have a more strident instrument which cut through but didn't have nearly as much depth in it's basic tone as this one. I'm wondering what setup tweaks I can do to try and give it a bit more edge. (tailgut, tailpiece, strings etc.) One thing I was particularly wondering was about the distance the tailpiece sits from the saddle & material used - is it more useful to be metal/ kevlar & very close to the saddle for a darker sounding viola? I'll try and give as much info on my instrument as possible: Quite new viola (5 months - so I realise more playing in will be useful, although it's already had some quite aggressive breaking in being played in a very loud show twice a day for 2 months). 16.375" back length. (It's not especially wide nor has especially deep ribs) Vibrating string length of 370mm (with an afterlength of 78mm) It's arching is between moderate - moderately high. The seasoned maple used is apparently particularly dense / heavy wood - with the luthier thinning the plate 0.5mm more than she would normally. The current strings are Evah Pirazzi Gold. Current tailpiece Wittner ebony w/ integrated tuners - nylon tailgut. The bridge is slightly more wedged than 'normal' (slightly more thick towards the bottom) but is top quality & hard. The action isn't low, and might get uncomfortable any higher. Oil varnish (still a little soft) Thanks in advance for those who able to take some time on this... Simon
  14. Hi All, I am a high school student looking into purchasing a high quality viola. I am interested in instruments ranging from $12,000 to $20,000. I currently play a $4,500 Erdesz copy made in Washington, D.C. in 2016. I am open to any suggestions of shops/makers, though these would preferably be located in the mid-atlantic/northeast U.S. Thank you!
  15. Has anyone seen a Hammig viola sell recently? I know they are rare. I have seen one listed as sold previously, but I can't find the source now. Are there any Germans watching this site who know more about these?
  16. Now that the little old viola is well strung and tested, it is time to try to find out what I have... The label was affixed in the bottom, on top of a repairer's stamp from 1954. When I checked the inside with a boroscope, I found the place on the rib where it had originally been affixed, the rectangular glue patch was quite visible. I also found an old bridge wedged into the bottom close to the bottom block, marked "H SCHICKER FREIBURG" The label seems to say "Joseph Meyer zu Br...... ..... Anno 1666", which is quite a bit earlier than I am willing to believe. Anyway, it sounds amazingly well with a full rich tone, so I am very happy with it.
  17. Good afternoon group, I'm a happy Pedi case owner. I'm a bit worried about the fact that when I close the case one of the bow holders is touching my Guarneri-type chinrest putting a bit of pressure on its slightly elevated edge. Is this a reason of concern?
  18. Putting together viola music for a YT playlist I came across some interesting and unknown (to me) repertoire: Röntgen viola sonata Joly Braga Santos concerto Jacques Francaix rhapsody for viola and orchestra Hikaru Hayashi concerto Beside this, the Rosza concerto and Martinu Rhapsody are seldom played. Any other viola works we can add to this list?
  19. I am considering buying a set of Thomastik Dominants for my viola but I'm not sure which is the correct for the size of my instrument. It is a 16'' viola with a 37 cm string length (measured from the nut to the bridge). Which is the correct set? Is it the no. 141 one or the no. 4125? The measurements in the manufacturer's refer to the instrument's back size of to string length? Any ideas?
  20. Instead of continuing the hijacking of a thread by a fellow violist with the same name, I thought maybe I can indulge my fascination with da Salo violas (and violas, in general) in a new thread. I just discovered Amihai Grosz who plays a 1570 Gasparo and it has got to be the greatest viola I've heard. Short demonstration: Also, look at that wide grain. So... there's not much to this thread, I guess. I hope that others might post their favourite sounding (and looking violas), modern or old, to get an idea of what is out there. Looking at you, Mr Dwight, I was following your viola thread when it was being made, and still no sound clip! I'm so interested in hearing it!
  21. Hell everybody, Last May I send my oil-varnished viola to a qualified repair person to be cleaned. During the cleaning, three parallel lines appeared on varnish running along the upper left frontal side of the instrument. The repair person tried to "camouflage" them by applying linseed oil on them but with no luck.... The lines are still there! They can be noticed under appropriate light. Is there another way to make them dissapear or it doesn't worth it? I have attached a couple of photos - the lines can be better seen if you zoom the images. Thank you in advance. John
  22. Lately I've been thinking of upgrading my viola case, as the one I have I believe offers not much protection. It is one of those cases made of natural fibres, the top used to press onto the bridge (I subsequently pushed inside the foam in that area to provide some clearance) and also the suspension system I believe is flawed, or it would only work with a smaller viola than mine (mine is 16.5'', the case supposedly fits all sizes), considering the base of the neck does not rest on the cushion (it is too low), resulting in the scroll resting on the bottom instead of being suspended in the air. When I bought it I didn't know and I had limited choices... For a month or so, I had been carrying the viola in a cardboard box with a DIY strap! I even got it on the plane like that. Anyway, that's a big enough prologue. Do you have any recommendations for good quality cases, preferably dart-shaped or viola-shaped, and definitely light-weight, for a 16.5'' viola? Not too expensive, I definitely cannot get a Musafia, but you could mention anything that comes to mind. Anything easily available in the EU is a plus... I can't seem to find Bobelocks, for example, around here and I don't think it's a good idea to order from the US, due to the added costs. I have no need for much space inside, I do not use a shoulder rest. Also, I'd like to mention that I have read the posts on the 'other site', written by Mr Musafia, regarding carbon fiber cases, which really shattered my view of them, but I still haven't ruled them out as I can't seem to find a good dart-shaped case. Sorry if the topic has been beaten to death, just looking for new ideas! EDIT: Dart-shaped & viola-shaped. Anything not huge.
  23. Just a violist I discovered a couple of days ago and perhaps many of you will enjoy listening. He 'plays on a Leroy F. Geiger viola dated 1951 made in Chicago, USA', another new name for me.
  24. So, I'd like to thank you all in advance for potentially helping me sort through all of the general questions I have, and also welcoming me into this community(by allowing me to create a free account to quiz the people in the lifelong trade/journey about what I seem to have gotten myself into). Thanks again for reading. I am excited to become a part of this particular community!
  25. Greetings, all! I'm new to the forum, so please be gentle. I have inherited two instruments from my mother, one a Jacobus Stainer violin, which I understand to be late 19th century. The other is a viola that Google fails to provide any information on. The label reads as follows: Pauer & Kubesela, Op. 15 Poszony 1902 Any information about the origin of this viola would be appreciated.