valued. Many of his violas remain in Australia, his country of residence, where during some decades the violists of the Sydney Symphony Orchestra had a dozen of them in their section. More recent (and more radically shaped) innovations have addressed the ergonomic problems associated with playing the viola by making it shorter and lighter, while finding ways to keep the traditional sound. These include the Otto Erdesz "cutaway" viola, which has one shoulder cut out to make shifting easier; the "Oak Leaf" viola, which has two extra bouts; viol-shaped violas such as Joseph Curtin's "Evia" model, which also uses a moveable neck and maple-veneered carbon fibre back, to reduce weight: violas played in the same manner as cellos (see vertical viola); and the eye-catching "Dalí-esque" shapes of both Bernard Sabatier's violas in fractional sizes—which appear to have melted—and David Rivinus' Pellegrina model violas. Other experiments that deal with the "ergonomics vs. sound" problem have appeared. The American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale, called the "adapted viola". Luthiers have also created five-stringed violas, which allow a greater playing range. Method of playing A person who plays the viola is called a violist or a viola player. The technique required for playing a viola has certain differences compared with that of a violin, partly because of its larger size: the notes are spread out farther along the fingerboard and often require different fingerings. The viola's less responsive strings and the heavier bow warrant a somewhat different bowing technique, and a violist has to lean more intensely on the strings. The viola is held in the same manner as the violin; however, due to its larger size, some adjustments must be made to accommodate. The viola, just like the violin, is placed on top of the left shoulder between the shoulder and the left side of the face (chin). Because of the viola's size, violists with short arms tend to use smaller-sized instruments for easier playing. The most immediately noticeable adjustments that a player accustomed to playing the violin has to make are to use wider-spaced fingerings. It is common for some players to use a wider and more intense vibrato in the left hand, facilitated by employing the fleshier pad of the finger rather than the tip, and to hold the bow and right arm farther away from the