A Notebook for Viola Players
If you would like to order a copy, please email me at iv3@rice.edu. I can accept a check made out to ‘Ivo van der Werff’ or I can also take a credit card number.
The cost for the book/dvd plus postage and packing is $30.
$30 US, $32 Canada, $35 Europe, $37 Worldwide Also stocked at Dowling Music, Houston/New York USA: Violineri, Melbourne, Australia: Kensington Chimes, London, UK: Blackwells, Oxford, UK
Excerpts from the book
This notebook is intended to give a broad technical overview of the mechanics of viola playing followed by a variety of bowing and left hand exercises.
Nothing written here is set in stone. It is not my intention that what is presented is the only ‘correct’ way of playing, or approaching the instrument. The intention is to provide a series of ideas that I have found to be successful over many years as both a performer and teacher. If, through studying this book, you improve your sound and technique, then I have achieved half my aim. The other half is to make you think about how you play, how you might approach a problem or how you could improve on what you already have.
The reason for this book is twofold. First, there are very few books on technique aimed specifically for viola players. There is a huge amount of material available for violin, much of which has been transcribed for viola, but too often the exercises may not be entirely practical for viola playing (e.g. extensions or 10ths). Having said that, though, certain exercises are a must: Sevcik, Schradieck, Casorti, etc and then the studies and caprices of Kreutzer, Rode, Campagnoli, Fuchs, Vieux etc.
My feelings are that we should have a range of material to study, of which this book could form a part. Watson Forbes’ book of daily exercises is really excellent, and work on that could be mixed with work on the above mentioned studies. I am a great believer in variety - there is nothing more tedious than practising the same thing day in day out. The material we use should help us improve our playing, but the material can be varied. Therefore I would present this book as a good basis for regular practise, but alternating with other books and ideas so as to provide interest and stimulation.
There are some excellent pedagogical books around, but these can make rather heavy reading, whereas many basic books on technique offer very little in the way of explanation, so the second reason for this book is that I hope it can fall in between the two extremes. I have chosen, therefore, to make short, succinct points to be pondered upon, and a series of exercises designed to be concise and simple in idea (if not always in execution).
These exercises are not intended to create musical shape or phrasing. Indeed, it could be argued that we never bow totally evenly, with constant bow speed and pressure (as I suggest in the bowing exercises). Play a Brahms sonata that way and it would sound horrible. The point is that we have to learn total control over what we do, we have to possess a technical awareness which ultimately becomes subconscious when we perform a piece of music. To this end we have to go through the process of learning how to control the viola and the bow. If we are not aware of bow speed or pressure, how then can we make the bow into an expressive tool? Without basic left- hand control (based on good hand shape and finger movement) how can we play in tune and have a varied and expressive vibrato with which to recreate a musical masterpiece?
A Notebook for Viola Players - Endorsements
Ivo-Jan van der Werff has very cleverly and clearly set out his ideas about basic technique in a way that can relate to many different kinds of violists, a unique achievement. I am certain the Notebook will become an important and useful resource for many players. It was of particular interest to me to see in print, for the first time, exercises devised by the great player and teacher Bruno Giuranna, with whom Ivo and I both studied.
Simon Rowland-Jones, violist, composer and editor of the new Peters Edition of the Haydn String Quartets and of the Bach Cello Suites for Viola
A Notebook for Viola Players" is a wonderful addition to the world of viola technique. Expertly offered with clarity, wit and elegance, it is eminently practical and compassionate!
James F. Dunham, Professor of Viola, Rice University, Shepherd School of Music; former violist: Sequoia and Cleveland Quartets
This is such a valuable fund of exercises, thoughtfully devised to build and maintain a foundation of technical security and quality. Players at all stages of their development will find both useful warm-ups and technique-enhancing challenges, presented in Ivo-Jan van der Werff's articulate, reassuring stye.
Roger Tapping, Professor of Viola, New England Conservatory; former violist Takacs and Allegri Quartets
This book gives a truly grounded and open approach to viola technique, imparting wisdom without unecessary fuss. There is a balance between indivdual needs and the fundamentals of a strong string players technique. The conclusion gives every instrumentalist food for thought, basics that all players should think of every day.
Edward Vanderspar, Principal Viola, London Symphony Orchestra
Posture
Many of the technical problems and faults viola players encounter can come down to posture, that is, the way we hold ourselves and our instruments.
Certain key words describe the attitude and approach we should have: poise, balance, weight (as opposed to force), flexibility. There are of course many more descriptive words that can be used, but these few give an idea of the general attitude, both physically and mentally that we should aspire to.
Holding and playing a viola is not exactly the most natural physical process and a lot of tension can arise from bad posture. It would seem obvious (although always less straight forward in practice) that while playing, the general posture must be as natural as possible. To this end we should observe the way we naturally stand. The feet should be slightly apart and flat on the floor, balancing between the heel and the ball of the foot. The legs, knees and hips should be relaxed. The lower and upper back should exhibit the natural curve of the spine (not holding it straight) but not leaning to the left or right. The shoulders should be down and the neck straight with the head balanced evenly. When we put the viola into position we should still have this basic, natural posture. The only thing that might change slightly is the position of the head, which might turn and drop fractionally into the chin rest……………..
Preliminary Bow Exercises
- Rest the middle of the bow on the D or G string. Make sure that the upper arm is parallel with the bow and that the elbow is neither too high nor too low. The wrist should be curved slightly downwards, the hand being just below the level of the forearm thereby ‘suspending’ the bow. Moving only from the shoulder (which should be relaxed downwards), keeping the shape of the arm and its relation to the bow constant and the bow always at right angles to the strings, move the bow from one string to the next. Go beyond the C string (so the bow hair even touches the wood of the viola) and beyond the A string in a similar manner. Make sure the movement is slow, even and relaxed. The shoulder acts as a pivot.
Repeat this exercise but now resting the bow at the point, and again with the bow at the heel. Be aware of any general differences in the movement of the arm.
- One thing that is very rarely practised, but vitally important, is actually ‘putting’ the bow on the string. The quality of sound we make depends as much (if not more) on our approach to the string as what we do when it is there.
Stand (or sit) with the viola in position. Swing the bow arm in a big arc from a resting position (ie by your side) away from the body (to the right), then up and over the viola so you approach the string from above. In this way you are working with gravity. Settle the bow on the string in the middle. Observe the shape of the arm, wrist and fingers. If they are incorrect decide what needs to be changed and go through the motion again. When you are satisfied, with the bow resting on the string, feel the weight of the arm via the hand (ultimately the index finger) going through the bow. Do not use ‘force’ or tension. The feeling should be like sitting on a very comfortable chair. The springs (strings) support your weight and your weight presses down in a relaxed manner into the chair (viola). It should be a secure and easy feeling. Try breathing in, then on the out breath, let the shoulders drop and settle into a relaxed position. This simple exercise should initially bepractised at the heel, middle, and point, and on each string in turn. When you have done this and feel comfortable, try ‘walking’ up and down the bow in the following manner. Place the bow at the heel and feel relaxed, note the position of the arm………