Karen Tuttle (March 28, 1920 – December 16, 2010) was an American viola teacher, most famous for developing the Karen Tuttle Coordination Technique, which emphasizes being comfortable while playing the instrument. She began performing on violin at the age of sixteen before switching to viola in 1941. Tuttle actively performed and taught at a number of institutions until her retirement in 2005. Early Years and Education Born Katherine Ann Tuttle in Lewiston, Idaho, she changed her name to Karen as a young woman. Her father Ray, a fiddler from a family of farmers, and her mother Eunice, the director of a local church choir, moved to Walla Walla, Washington with Karen when she was twelve. After eighth grade, Karen refused to continue school, and instead, devoted her time to learning the violin. She studied with Jean Heers, Karel Havlíček, and Henri Temianka, and actively toured the West Coast as a teen. However, she experienced tension and pain from playing the violin that her teachers could not solve. In 1941, Tuttle heard violist William Primrose play in Los Angeles with the London String Quartet. She was so impressed with his relaxed way of playing that she immediately asked him for lessons. Primrose agreed, as long as she switched to viola and moved to Philadelphia to attend the Curtis Institute of Music, where Primrose was a faculty member. While at Curtis, Tuttle spent hours observing Primrose and analyzing his relaxed way of playing. In 1944, she became Primrose's teacher assistant. Primrose often sent students with technical problems to Tuttle for help, because she could better articulate what they needed to create beautiful sound. She graduated in 1948, and when Primrose left Curtis in 1951, Tuttle became the head of the viola and chamber music departments. She taught at the Curtis Institute of Music until 1955. Career Although an excellent teacher, Tuttle also continued to perform on the viola. In the early 1950s, she became the first female member of the NBC Symphony Orchestra. In 1955, she collaborated with cellist Pablo Casals at the Pablo Casals Festival in Prades, where she returned several times. She also frequently participated in the Marlboro Music Festival in Vermont. In 1958, she traveled to Fiji, Samoa, and Tahiti, and performed for native audiences there. She made her Carnegie Hall recital debut in February 1960. Her recital was reviewed by Harold Schonberg, a leading reviewer for The New