New thoughts on the "adapted" viola

Hi All,

It turns out that with different widths of strings, only available for viola
in the last 3 years, one can tune a wide-body viola down a perfect fourth.
This means that one does not need to build an instrument or turn to the tenor
violin (as Ted Mook does) in order to have all the notes available. These
insights come by way of Anastasia Solberg, who is working with me for
performances of Harry Partch's "Seventeen Lyrics by Li Po."

Also, it would ideally require 2 different instruments in order to perform
all 17 pieces because some have a shaved down bridge (for 3 strings at a time
playing) and some do not. This may account for why the Li Po were never done
in their entirety by Partch.

These pieces are really for the quality of string playing which we know as
the viola. That a viola can do today what was impossible in Partch's day is
a testament to his imagination.

Best, Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:
> Hi All,
>
> It turns out that with different widths of strings, only available
for viola
> in the last 3 years, one can tune a wide-body viola down a perfect
fourth.
> This means that one does not need to build an instrument or turn to
the tenor
> violin (as Ted Mook does) in order to have all the notes
available. These
> insights come by way of Anastasia Solberg, who is working with me
for
> performances of Harry Partch's "Seventeen Lyrics by Li Po."
>

This is what Marc Sabat does, with a fullsize viola, tuned and
studded like Partch's instrument.

> Also, it would ideally require 2 different instruments in order to
perform
> all 17 pieces because some have a shaved down bridge (for 3 strings
at a time
> playing) and some do not. This may account for why the Li Po were
never done
> in their entirety by Partch.

That's probably not the reason. Partch's viola had a bridge that was
flattened for triads, but with an insertable tooth to raise the
middle string in the triad.

>
> These pieces are really for the quality of string playing which we
know as
> the viola. That a viola can do today what was impossible in
Partch's day is
> a testament to his imagination.
>
> Best, Johnny Reinhard

No doubt about Partch's imagination. But his own technique
("veena", "one-finger") is probably harder to imitate on de bracchio
instruments. It could be that that's why he later rewrote his adapted
viola parts for cello. The cello has to be restrung a fifth higher
(although many scores have the high 27/16 string tuned down to a 6:5
above the 9/8 string), but it would be easier to negotiate long,
slow, glissandi on, as in "San Francisco".

In a message dated 3/20/02 5:52:23 AM Eastern Standard Time,
alternativetuning@yahoo.com writes:

> This is what Marc Sabat does, with a fullsize viola, tuned and
> studded like Partch's instrument.
>

When I performed Li Po in Toronto with Marc he had an extended fingerboard on
a viola body, but played under his chin. Maybe he realized as did Anastasia
how able a viola could be and discarded his original adapted viola?
Incidentally, the studs do nothing for the timbre as they are between
strings, as I understand it. Kind of odd for Partch to include them, except
for "looks", when he, himself, had perfect pitch. It appears that microtonal
violists like Solberg, and at lest 5 others I've worked with on Li Po do not
need them or use them.

> > Also, it would ideally require 2 different instruments in order to
> perform
> > all 17 pieces because some have a shaved down bridge (for 3 strings
> at a time
> > playing) and some do not. This may account for why the Li Po were
> never done
> > in their entirety by Partch.
>
> That's probably not the reason. Partch's viola had a bridge that was
> flattened for triads, but with an insertable tooth to raise the
> middle string in the triad.

This is fantastic news! Thank you and where did you learn of this
"insertable tooth"?

> No doubt about Partch's imagination. But his own technique
> ("veena", "one-finger") is probably harder to imitate on de bracchio
> instruments. It could be that that's why he later rewrote his adapted
> viola parts for cello.

The superior technique by a virtuoso microtonal violist circumvents any
difficulty with the one finger technique of Partch. Perhaps a violist could
angle the instrument for gravity purposes on the finger to get the sense? In
the hands of a master, upbows and downbows put in by Partch are actually
irrelevant. The player can effect either. Partch actually suggested either
viola or cello could play his Li Po songs.

The cello has to be restrung a fifth higher
> (although many scores have the high 27/16 string tuned down to a 6:5
> above the 9/8 string), but it would be easier to negotiate long,
> slow, glissandi on, as in "San Francisco".
>
I love doing the Li Po with cello, but there is a different relationship with
my voice. The viola is closer to my voice in timbre, and his, too. When
Partch gives the vocal line to a tenor, the voice sounds an octave higher
than the pitches indicated on the chromelodeon. That Partch splits the Li Po
between 2 voices led me to think there were 2 instruments needed...ah, but
with an insert for the bridge, hmmm. BTW, what is your name?

Best, Johnny Reinhard