The viola has also four strings, which are tuned thus:
In order to avoid the inconvenience of writing the part of the viola in two clefs, the old custom of writing it on what is known as the alto clef is continued. The peculiarities of clefs will be explained in a separate chapter. The viola is both a tenor and a contralto, though it is usually employed in modern scores to discharge the duties of a tenor. The early composers knew so little about its expressive power that they frequently used it simply to reinforce the basses. The most recent writers have gone to the other extreme. They have been so delighted with the individuality of the viola’s tone that they have shown a tendency to overwork it. The lowest register of the viola has a peculiarly sepulchral tone, which gives it a dark and threatening character, admirably adapted to the demands of tragic music. In its middle register the viola sings with a peculiar pathos which cannot be imitated by any other instrument playing in the same region of pitch, and even in the higher parts of its scale the viola maintains its individuality by a penetrating sweetness and gentleness of tone. Nevertheless, it blends well with other stringed instruments. If a composer desires to write a long scale, exceeding the downward range of violins, he can pass from violins to violas, and so to ’cellos, without any abrupt change of tonal quality. Again, violas can be used to reinforce other stringed instruments, as in the beginning of the andante con moto of Beethoven’s Fifth Symphony, where they play the melody in unison with the ’cellos. Meyerbeer, Berlioz, and Wagner have made excellent use of the characteristic qualities of the viola. The first named gives a good example of his style of treatment in the viola accompaniment to Raoul’s romance, “Plus blanche que la blanche hermine,” in Act I. of “Les Huguenots.” Berlioz employs a solo viola in his “Harold in Italy” symphony to represent Byron’s melancholy wanderer. Wagner takes advantage of the peculiar tone-color of the instrument in many places in his scores. A familiar example is that which begins the bacchanalian passage in the “Tannhäuser” overture:
All that has been said about the methods of bowing, tremolo, pizzicato, harmonics, sordines, etc., applies to the viola as well as to the violin.
THE VIOLONCELLO
This instrument is so well known that it will not be necessary to say much about it. Its tone and its various effects are familiar to all concert-goers. The ’cello is tuned precisely as the viola is, but an octave lower:
