Things to consider when buying a viola

July 1, 2014 at 12:18 PM · That business about new instruments getting worse is nonsense. In every single example I've seen that was attributed to that there was a problem with the setup that hadn't been properly addressed.

It is true that new instruments require some time to settle in, and during that time you have to watch them and get them tuned up regularly (almost all will need a new soundpost after six months or a year to fit what has happened to the shape of the instrument with strings on it, for instance), but if played regularly and properly maintained, new instruments get better, not worse.

July 1, 2014 at 02:20 PM · New (as well as old) instrument can stay the same, get better or worse.

The real questions are:

what is the statistical distribution of cases?

what time frame are we talking about?

... and we do not have reliable answers, just the anecdotal "evidence", bunch of beliefs and superstitions sometimes supported by people in the business.

Buying an instrument, despite all our efforts and experience, always requires a bit of luck and there is always a % of uncertainty.

If your daughter is is still growing, one of your main concerns is the market value of the instrument and its investment potential (the ability to re-sell it without losing money on a later date).

Here are some tips:

https://www.zaretandsonsviolins.com/violas/choosing-a-viola

July 2, 2014 at 06:06 AM · From my teacher's angle, I have found that new violas change a lot in th first year.

Some have a pleasant, warm tone with no bad zones, and then reveal their true harsher colours as the wood adapts to the tension, followed by proper readjustment from the luthier.

Others can sound full and loud at first due to over-thinned plates, which then deform slightly under tension, and vibrate less evenly.

Others improve with playing and adjustment, as Micheal says; but not all luthiers listen to feedback from the customer as I am sure he does..

July 2, 2014 at 01:31 PM · I strongly second the 'setup' point; true for all instruments, but essential for new(er) ones. And if your daughter is still growing, yes, market value matters.

Beyond that, make sure she hears as well as plays any instrument she's trying out. Try to find the instrument where you can establish a good relationship with the shop--not just for resale, but for sensitive attention to adjustment issues.

(Both my violas are 'young,' both by American makers, and they both just keep getting better.)

July 2, 2014 at 01:58 PM · For what it may be worth:

I have purchased two used Eastman VA100's off of EBay for under $300 each. They both were in pretty good shape, and sounded just fine.

If you manage to buy an established model such as this, it will certainly maintain it's value if your daughter grows out of it someday.

July 7, 2014 at 02:20 AM · Rocky, thank you for the link.

It was interesting and I liked the authors view that sound quality isn't always tied to price. The article made many of the same points as an earlier article on choosing a violin.

How important do you think volume is in selecting an instrument for someone who aspires to a fairly high level of playing?

What is the best way to find out how much the instrument is worth for re-sell if it is an antique or contemporary; but not a student instrument? Those are fairly easy to determine with a little internet research.

We are going to try out the instruments in a large venue. We did try the instrument my daughter has on loan in an auditorium. PP carried to the back beautifully. There wasn't as much of a contrast between PP and FF as I was expecting. I don't know if that means anything.

One interesting thing we noticed was that the antique instrument sounded the best in playing the Bach Chromatica and Vientemp's solo work (I don't know it's name), but the new instrument loved the Walton! We were both surprised at the clear difference.

We had a very nice Eastman 1/8th violin and I know someone with a nice full sized Eastman cello.

July 7, 2014 at 05:39 AM · "What is the best way to find out how much the instrument is worth for re-sell if it is an antique or contemporary; but not a student instrument? Those are fairly easy to determine with a little internet research."

Not so...A little internet research will only lead to confusion regarding values and provenance.

You are better off choosing someone who you can trust and working with them.

As for the modern vs old thing, having had a hand in Marjory's violas-one as a co-builder and the other as the teacher of the maker-a good viola is a good viola, old or new, and they require maintenance, just like your car or computer. Run those items without attention and they won't function up to par.

A stringed instrument isn't something that you buy and just play without attention. The weather changes, they change, and you might have to change the way you play them. If it doesn't sound/respond quite right, go to the luthier.

If you buy a viola in New Mexico, and take it home to Seattle, you'll probably need a new post and bridge, and if you purchase a newly restored old instrument, you should treat it as a new instrument, since it will change and may require adjustment as it gets used to being an instrument again.

July 7, 2014 at 09:30 AM · A few more observations:

At least with 15.5" you are into a "real" viola.

By which I mean, not just pleasantly fuzzy low notes, but varied tone colours over the whole range. A good if not huge tone. Watch out for a honky B on th G-string, and a snarling F# on the D: tiring in the long run

At your daughter's level, the new viola must respond to rapid attacks and strokes: tremolo, staccato, spiccato, collé (loud and soft).

Slurred sixteenths ("semiquavers" in the old country!) mustn't need "pumping" in the left fingers, especially with the wider finger spacing. A slow-responding instrument will tire the left hand more than the right, and make vibrato more strenuous.

For a given violin body-length of 15.5", the vibrating string-length can vary a lot; I should recommend no more than 14" (13.75" would be preferable for up&coming young hands, as for my rather old ones!)

The pinky rules! With same curve as before: the bigger fingers do the adapting. More mini-shifts, for comfort and tone: the longer strings are a little higher off the fingerboard, and vibrate more widely, requiring firmer fingering.

Of course the teacher knows all this, but sometimes it seems too obvious to mention..

July 7, 2014 at 06:15 PM · Another thought:

A 15 1/2" viola that is truly exceptional-meaning a C-string that is wonderful and doesn't get the, "Oh, that sounds wonderful for a small viola...", will be more difficult to find, and cost more than it's 16" brother/sister, when speaking of older instruments.

July 10, 2014 at 06:02 AM · Thanks for the additional input, especially the specifics.

I meant that it was easier to get an idea of what student instruments are worth. If you have an Eastman 1/4 305; you can look them up at various shops and get some ball park figures.

I had a situation with a very well known shop that represented some instruments at a much higher value than usual. It was an experience that left me cautious.

What price range should I be expecting for that exceptional 15 1/2 viola; that doesn't sound good for a small instrument? From what I gather under 16" isn't very popular. But my daughter is small and I don't think she'll grow a lot more.

July 10, 2014 at 06:53 AM · I've been trying violas for a student with very slim hands. Going from 15" to 15 1/2" semms to give a noticeable jump in quality; from 15 1/2" to 16", much less; 16" to 16 1/2, more so.

In trying violas, it's not just the arm extension, but above all the note spacing. Playing a perfect fourth in 1st position, with the pinkie curved (to allow extensions) the index shouldn't have to lean back as if it were playing a flat. This is absolutely vital for progress, and to avoid injury.

I have tried a 16" with the note spacing of a 15 1/2", (with the nut and the bridge brought closer together, by design, or modification).

July 12, 2014 at 04:11 AM · How much? That depends upon your definition of "exceptional".

As for the Eastman 305 analogy, ballpark, yes. You can find them with the set-up that comes from Eastman. Very Basic. If a good maker/tech cuts a bridge and post, properly shapes the fingerboard, and we put a set of Evahs on it, it will be more expensive, it will sound better, play better, but you can't tell that from an Internet listing.

edit: After thought and consultation with a couple of friends who are also makers: 5k if you get lucky, up into the mid-high teens for something old and nice, but without a name. If you require a name and provenance, it's going to get expensive. Some of the best small violas that I have seen are German, Mittenwald-ish, early/mid 19th c, but we make some nice new ones, too.

July 17, 2014 at 08:57 AM · While the Eastman 305 viola is great for it"s price tag, I would strongly suggest considering Jay Haide violas. They are priced at around $3400 but sound better than those that cost $10,000. I used to own a 15.5" Maggini model that received many compliments from peers and teachers alike. You can purchase one from nearly all major string shops. The most dependable source would be Ifshin Violins located in El Cerrito, CA or Robertson and Sons Violin located in Albuquerque, NM.

July 18, 2014 at 05:56 PM · Sharon, a lot of the bigger shops are going to charge more, not because they are dishonest, it's just that they have been around for a while and they charge that much because their customers pay it, not caring too much about the price.

If price is important, I can probably help you out there. Feel free to check in with me once you've shopped around and I'll make sure you don't pay too much if I have something similar. I run sales at a high end shop in Los Angeles, and I'm always willing to help out parents that are supportive of their kids' playing.

July 18, 2014 at 06:45 PM · IF I were to pay the viola again (thankfully never) I would only be prepared to play on a 15 and a half instrument (maximum). Anything bigger is a real pain in the butt. (Try doing the complete Ring Cycle on a 16.5 inch monster and you will probably prefer suicide).