JAVS Spring 2026

With Viola in Hand

Morning Musings: Pedagogical Reflections from the Practice Room by Andrea Priester Houde

I become a much better teacher after I practice in the morning. It could be my obsession with zen-like Ondricek left-hand exercises, or my equal obsession with coffee (yes, I might have a separate Instagram profile just for coffee), but during those precious practice sessions, teaching ideas begin to flow. Often, as the day unfolds, I test these new hypotheses directly on human subjects. Luckily, the poor guinea pigs—also known as my afternoon students—have all survived so far. This phenomenon surely happens to many music teachers. Daily time with our instruments reconnects us to the challenges we face as players, which are, of course, the very same struggles our students wrestle with at every level. Perhaps the most essential result of a teacher’s practice, however, is the spark it rekindles with our viola soul—that original love for music and for expressing it through this beautiful, honey-throated, yet impossibly gangly wooden box. That love is ultimately what our students need most to fuel their own viola journeys. Over the last year of daily morning practice sessions, I have taken time to write down some of the pedagogical, technical, and musical musings that have come to me. In the spirit of the social-media phrase “I don’t know who needs to hear this,” I would like to share some of these ideas with you. For many, they may serve simply as reminders—but reminders can be helpful, too. You may disagree with some of these thoughts, and that is perfectly fair; much of this work is inherently subjective. My hope is that one of these blurbs might strike you as the missing puzzle piece you needed to find today. Better yet, perhaps they will spark your own musings. If so, feel free to test them out on your own human subjects (thank you, students), and please share the results with me— preferably over a cup of coffee.

The Left Hand • “Legato” left-hand fingertips (and fingers) produce a creamier, more elegant sound with greater control. This is especially effective when the fingers use their own weight, resting on the string after each drop. • Left-hand fingers can rest downward into the string while still maintaining “air” or space. The fingertips are never fully pressed; instead, they control the level of touch. • One-finger scales are particularly useful for finding the balance of a happy first finger (and then the other fingers) in each position to support vibrato. This same sensation helps maintain light, secure landings after shifts. • Pretend the fourth finger is always “down” to cultivate a feeling of pinky balance. This helps open the “mouth” between the first finger and thumb, releasing tension and allowing for freer finger dropping and vibrato. The Right Hand / The Bow • The bow-hand thumb can rest into the stick, and the bow itself can rest downward into the string at all weights—even in flautando. This is related to the idea that “the viola supports the bow,” but uses alternative language for students who need a different approach. • Instead of the terms pronation and supination , some students respond better to the sensation of feeling only the first and second fingers at the tip, and only the third and fourth fingers at the frog.

• Be aware of overtone creation with the bow. Overtones can be explored intentionally to

produce a wide range of colors within a single note. Overtones equal color. Practice scales and exercises while consciously controlling each color, from light to growly.

Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026

55