I've been doing orchestral midi mockups since the early 90s, and have even been lucky enough to have a couple of corporate gigs transferred to real orchestra. But I'm ashamed to say there's a big gap in my knowledge about how to make good creative use of a viola section.

I wonder if anyone can point me to some standout textures (preferably in movie scores or classical pieces) that typify some of the colours that violas, uniquely,  can achieve.

I find myself using them for octave doubling, filling out extended chords, or formulaically  in 4-part writing. What I've never done is really exploited their unique qualities for effect, and so would love to hear any good examples of this kind of use.

Thanks

Steve

Have you seen this in the Vienna Academy http://vsl.co.at/en/70/3189/3191/5630.vsl ?  You might find it interesting.  I refer to it from time to time. 

Personally, I like the violas for their smooth and dark sound which works quite well for horror soundtracks because I think the cellos are a bit overused in that genre.  Here's a link to a track I did in that style http://sonicpsyops.com/audio/02_All_Hallows_Eve_hifi.m3u  The main theme is performed by a solo Viola, at first, then the full Viola section repeats it later.  If the link doesn't work try this link instead http://sonicpsyops.com/music.html then click on the song "All Hallow's Eve".  I'll admit that I'm no Jerry Goldsmith or anything but I think it's effective.

Sorry Steve I was just joking.  Your question is a very good one for an orchestration forum and actually difficult to answer.  I have worried about this myself because I don't want to write totally boring parts for any instruments.  I remember sitting in orchestra rehearsals and seeing how bored the violas were with the endless afterbeats they were playing, and thinking I don't ever want to write a part that players hate. 

In general the viola does have a mellower, more withdrawing sound than the violin, and it does not have the extremely rich resonance of the cello.  But those characteristics are why I like it so much, as it takes on either an unassuming, very blendable quality, or a somewhat mysterious, somber  or even haunting soloistic quality.  Its best range is probably in the low and middle octaves.  In the lowest notes it is extremely "serious" and sad, as if it has been drained of life,  almost funereal.  But the "sad" drained quality makes the instrument so perfect for expressive music of that kind that  you absolutely have to have it.  In its middle range it becomes espressivo.  The highest range starts to sound a bit strained, but you can use that for its effect as well.  I know this is all subjective though, and that is why this is a difficult question.  It should really be explained not with words but just music.

Maybe the best orchestral viola parts are found in the works of the Romantic/early Modern era when composers "liberated" them from their lowly accompaniment duties and allowed their sound to be used expressively.  Even though Brahms is not known particularly for his orchestration the viola parts in his symphonies always seemed very prominent and well-written.  And the symphonies of Tchaikovsky and especially Mahler used them very characteristically, and in the Modern era Debussy in Images, Jeux and La Mer had great parts as well as the early large scale works of Stravinksy like the Firebird and Rite of Spring.  The symphonies of Vaughn Williams show a masterful use of the entire string section with a lot of prominent viola parts.  Some other examples would be in a string-ensemble-only work like the Barber Adagio for Strings which is molto espressivo scoring for all of them.  And even though it is chamber music, the Debussy Trio for Flute, Viola and Harp uses the characteristic sound  of the viola perfectly. 

I totally agree with what you're saying.I think part of the problem is that people don't get a true sense of your tone. Being a fellow Brit, I find a blunt, dry, appraisal quite funny, but understandably this can be mistaken for you just being an arse.

As the O.P., when you made an interesting comment about my question, I read a couple of your posts to see who you were.

The first thing I read was something like "trailer music liked by the  kind of morons who play video games". I thought, well there's no point getting in to a conversation with this guy. It appears I'm a moron. On both counts.

My first reaction was that you're probably a doddery old twat who couldn't be trusted to sit the right way round on a toilet. My second reaction after reading a couple more posts , is that you're witty and smart  (In a Gregory House kind of way, though maybe you're too high-brow to get the reference) and appear to know more about orchestration than I could ever hope to. And you like the word 'moron'.

My point being, is that over a pint in a pub, we could exchange our 'morons' and 'twats' in a good-humoured way and move past it in to a decent conversation. I'd be happy to play the moron if you tell me what to do with a viola (!), but  on internet forums I guess people think "This guy sounds like hard work."  BTW, don't forget, you're the moron on some subjects, but maybe you don't frequent those forums.

[ Edit: Dunno why my a-r-s-e got changed to ***. It let your swearing through... Not Fair! ;)  ]