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<\/figure>\n\n\n\nThe viola<\/strong> (\/vi\u02c8o\u028al\u0259\/<\/a> vee-<\/em>OH<\/em>-l\u0259<\/em><\/a>,[1]<\/sup><\/a>[2]<\/sup><\/a> also UK<\/a>: \/va\u026a\u02c8o\u028al\u0259\/<\/a> vy-<\/em>OH<\/em>-l\u0259<\/em><\/a>,[3]<\/sup><\/a>[4]<\/sup><\/a>[a]<\/sup><\/a> Italian: [\u02c8vj\u0254\u02d0la, vi\u02c8\u0254\u02d0la]<\/a>) is a string instrument<\/a> that is bowed<\/a>, plucked, or played with varying techniques. It is slightly larger than a violin<\/a> and has a lower and deeper sound. Since the 18th century, it has been the middle or alto<\/a> voice of the violin family<\/a>, between the violin (which is tuned a perfect fifth<\/a> above) and the cello<\/a> (which is tuned an octave<\/a> below).[5]<\/sup><\/a> The strings from low to high are typically tuned to C3<\/sub>, G3<\/sub>, D4<\/sub>, and A4<\/sub><\/a>.<\/p>\n\n\n\n In the past, the viola varied in size and style, as did its names.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> The word viola originates from the Italian language<\/a>. The Italians often used the term viola da braccio<\/a> meaning literally: ‘of the arm’. “Brazzo” was another Italian word for the viola, which the Germans adopted as Bratsche<\/em>. The French had their own names: cinquiesme<\/em> was a small viola, haute contre<\/em> was a large viola, and taile<\/em> was a tenor. Today, the French use the term alto<\/em>, a reference to its range.<\/p>\n\n\n\n The viola was popular in the heyday of five-part harmony<\/a>, up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody<\/a> line.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> Music for the viola differs from most other instruments in that it primarily uses the alto clef<\/a>. When viola music has substantial sections in a higher register, it switches to the treble clef<\/a> to make it easier to read.<\/p>\n\n\n\n The viola often plays the “inner voices” in string quartets<\/a> and symphonic writing, and it is more likely than the first violin to play accompaniment<\/a> parts. The viola occasionally plays a major, soloistic role in orchestral music. Examples include the symphonic poem<\/a>, Don Quixote<\/em><\/a>, by Richard Strauss<\/a>, and the symphony\/concerto, Harold en Italie<\/em><\/a>, by Hector Berlioz<\/a>.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis<\/a> and William Primrose<\/a>. English composers Arthur Bliss<\/a>, York Bowen<\/a>, Benjamin Dale<\/a>, Frank Bridge<\/a>, Benjamin Britten<\/a>, Rebecca Clarke<\/a> and Ralph Vaughan Williams<\/a> all wrote substantial chamber and concert works.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> Many of these pieces were commissioned by, or written for Lionel Tertis<\/a>.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> William Walton<\/a>, Bohuslav Martin\u016f<\/a>, T\u014dru Takemitsu<\/a>, Tibor Serly<\/a>, Alfred Schnittke<\/a>, and B\u00e9la Bart\u00f3k<\/a> have written well-known viola concertos. The concerti by B\u00e9la Bart\u00f3k<\/a>, Paul Hindemith<\/a>, Carl Stamitz<\/a>, Georg Philipp Telemann<\/a>, and William Walton<\/a> are considered major works of the viola repertoire.[<\/sup>citation needed<\/sup><\/em><\/a>]<\/sup> Paul Hindemith<\/a>, who was a violist, wrote a substantial amount of music for viola, including the concerto Der Schwanendreher<\/em><\/a>.<\/p>\n\n\n\n J.S.Bach, suite n\u00ba1 para viola sola. Irina Yonkova.<\/a><\/p>\n\n\n\n Beauty and the Beast – Evermore (Viola Cover)<\/a><\/p>\n\n\n\n Musical Fact Of The Week<\/p>\n\n\n\n What is the most popular string instrument?<\/p>\n\n\n\n Plucked (or Picked) String Instruments<\/strong><\/p>\n\n\n\n Michael Jackson – Beat It – Electric Guitar Cover by Kfir Ochaion – Spark<\/a><\/p>\n\n\n\n