It’s good to be making one of these little violas again. They work really well either as a stepping stone to a larger viola for a young musician, or as a forever instrument for a violinist who would like total ease of swapping between instruments, as the size feels just the same as a full size violin. This one is a commission from a professional violinist and who has it in mind for both herself and her daughter.
I’ve looked out some high quality wood for the viola. For these instruments, which don’t have size on their side – they are after all rather small violas – it’s important to prioritise low density wood. I’ve used a good piece of European maple for the back and some Swiss lovely spruce for the front which was picked out for me at the woodyard by a good friend.
First I cut out the back and front, then started work on the arching, everything a little oversize for now.
Then I cut a channel round the edges of the back and front to fit the purfling, a strip I make up of black dyed pearwood round a poplar centre. This helps to reinforce the edge against cracks and damage, and also adds a lot to the visual qualities of the instrument. That done, I finalise the shape of the edges and finish the arching, using a sharp scraper to make fine shavings to create a smooth surface.
And now the arching of the back and front is finished.
Next I turn over the plates and finalise their thickness. This is different for each instrument – it’s dependent of the density and flexibility of the wood, the arching shapes and model. I take the initial wood out quickly but then work slowly and carefully, flexing, tapping and weighing the wood until I’m happy. This high quality wood proves its worth, and everything feels good.
I sawed the soundholes before the thicknessing was finished, and now I’m able to finish their shape, working with a sharp knife.
For these cornerless instruments, I build the ribs directly onto the back. I shape and glue the top and bottom block, and prepare my rib wood, strips of maple planed to just over 1mm thick. Then I bend the ribs to shape using a heated bending iron and glue in place.
Then I fit the linings, small strips of spruce which reinforce the gluing surface against the back and front. It’s really fun to do this with the ribs already on the back, and to use my lovely specialised cramps to hold everything in place while the glue dries. The joints all worked out beautifully.
In the meantime I’ve been working on the head. It’s a simple shape that echoes the curved wings of the f-holes. I start by sawing the profile from a piece of maple planed to the right thickness, and then carve the 3D shape. Pegbox and final finish yet to come.
It’s good to be ready to finish the body of the viola. I’ve fitted the bass bar, which enhances the lower register of the viola and helps support the weight of the bridge. I use a design pioneered by the French maker Christian Bayon, which reduces the contact of the bass bar with the front, leaving it freer to vibrate, but is still very strong, moving the stiffness away from the front. The rib assembly is now finished too, with the linings shaped neatly. Lastly, I glue the front to the ribs with my specialised cramps.
Like the last episode of a TV drama, it all goes very quickly now! With the body finished, I fit and shape the neck, give the viola a final clean and check, and it’s ready for a period in my UV cupboard, the violin maker’s equivalent of a sunbed, so that the wood gains a light suntan before I start the varnishing process.
