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Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.fiddlehangout.com/archive/5746/3
Henry George - Posted - 08/29/2009: 18:27:35
I began learning vibrato from an excercise I found in this book.................Muller/Rusch String method, book 3.
It begins with your left arm in playing postion without the violin........
1) Swing your whole hand from the wrist and wave 'good bye to yourself'.....
Start with the hand upright or in the middle of the motion and swing the hand away from you then toward you. Keep your arm still and make your wrist swing for 30 seconds.
2) Hold the instrument like a ukelele, keep the heel of the hand against the rib of the instrument . again swing from the wrist and wave 'goodbye toward the bridge.
3) Place the second finger on the D string and repeat the waving motion. Allow the finger to slide on the string at least 2 inches so your hand is relaxed and swings from the wrist.
4) Anchor the second finger firmly on the D string and follow through with the same swinging motion, now the finger merely rocks back and forth on it's 'tip'. The swinging motion becomes smaller when the finger is firmly anchored. Practice with each finger. Do steps 1 to 4 for 5 minutes every day for 1 month.........
Now you should be ready to place the instrument under the chin, with the left hand in third postion ( so that the heel of the hand rests against the rib ). Practice step 4 several times.
Control of the vibrato motion is achieved by timeing it first to crotchets....back on the first beat then forward on the second.......etc.
Double the speed to quavers and then again to semi-quavers........ 30 seconds for each rhythm.
I also practiced vibrato in the triplet rhythm.......1=back, 2=forward, 3=back, 1=forward, 2=back, 3=forward.
For a slow/wide vibrato I generate it from the elbow maintaining a flexible/relaxed wrist and finger.
Finger vibrato, I believe, requires a different action....up and down, like the trill action.....
I can hear music,sweet,sweet music.
pinch - Posted - 08/31/2009: 06:53:08
Vibrato eluded me too until I discovered that I could do it a tiny-tiny-tiny bit on the G string with my index finger on one particular song. I focused on that one note in that one song and now I can do a reasonable vibrato with my index finger on all the strings. The challenge continues because now I am working on the one note in one song that I can do vibrato with my middle finger on the G string. 
FiddlerJones - Posted - 08/31/2009: 09:10:59
If vibrato's something you want to do, then you should do it.
OTJunky - Posted - 08/31/2009: 10:51:56
quote:This is impossible to argue with...
Originally posted by FiddlerJones
If vibrato's something you want to do, then you should do it.
bj - Posted - 08/31/2009: 16:28:26
quote:
This is impossible to argue with...
Tom Berghan - Posted - 09/13/2009: 16:47:32
Personally, I do not care for continual vibrato as many "trained" violinists play. I do however, find it perfectly tasteful as an ornament. Many violinists are actually unable to play in tune without it. That is of course because they cannot play in tune. When one constantly wavers the pitch, they are never fimly committing themselves to a pitch!
Here are some historical perspectives for you to consider:
The use of vibrato in classical music is a matter of some dispute. For much of the 20th century it was used almost continuously in the performance of pieces from all eras from the Baroque onwards, especially by singers and string players. A drastic change in approach cannot be understood wholly without regarding the rise of notionally historically accurate ("period") performance from the 1970s onwards. However, there is no actual proof that singers performed without vibrato in the baroque era. Vocal music of the renaissance is almost never sung with vibrato as a rule, and it seems unlikely it ever was. There are only a few texts from the period on vocal production, but they all condemn the use of vibrato.
Leopold Mozart's Versuch einer gründlichen Violinschule (1756) provides an indication of the state of vibrato in string playing at the end of the baroque period. In it, he concedes that "there are performers who tremble consistently on each note as if they had the permanent fever", but condemns the practice, suggesting instead that vibrato should be used only on sustained notes and at the ends of phrases.[citation needed] This however, does not give anything more than an indication of Mozart's own personal taste, based on the fact that he was an educated late Rococo/Classical composer. Although there is no aural proof, as audio recordings were not around for more than 150 years, that string players in Europe did not use vibrato, its overuse was almost universally condemned by the leading musical authorities of the day.
Vibrato was seen as an ornament, to be used sparingly. In wind playing too, it seems that vibrato in music up to the 19th century was seen as an ornament to be used selectively. Martin Agricola writing in his Musica instrumentalis deudch (1529) writes of vibrato in this way. Occasionally, composers up to the baroque period indicated vibrato with a wavy line in the sheet music, which strongly suggests it was not desired for the rest of the piece.
Music by late Romantic composers such as Richard Wagner and Johannes Brahms is now played with a fairly continuous vibrato. However, some musicians specialising in historically informed performances such as the conductor Roger Norrington argue that it is unlikely that Brahms, Wagner, and their contemporaries, would have expected it to be played in this way. This view has caused considerable controversy, although Arnold Schoenberg, a considerably later composer, seems to have disliked vibrato as well, likening it to the bleating of a goat. The view that continuous vibrato was invented by Fritz Kreisler and some of his colleagues is held to be shown by the development of sound recordings which allegedly proves that vibrato appeared only in the 20th century. Against this are cited sources which are said to unanimously prove[citation needed] that Viennese early 19th century string players like Franz Clement and Joseph Mayseder were noted for their tasteful use of vibrato. These musicians (and the two Hellmesbergers) are said to represent the school on which Fritz Kreisler actually based his stylistic approach.
The alleged growth of vibrato in 20th century orchestral playing has been traced by Norrington by studying early recordings; critics say his interpretations are not supported by the actual samples. Norrington claims that vibrato in the earliest recordings is used only selectively, as an expressive device; the Berlin Philharmonic Orchestra were not recorded using vibrato comparable to modern vibrato until 1935, and the Vienna Philharmonic Orchestra not until 1940. French orchestras seem[citation needed]to have played with continuous vibrato somewhat earlier, from the 1920s. Defenders of vibrato object that the sonic limitations of older recordings, particularly with respect to overtones and high frequency information, make an uncontroversial assessment of earlier playing techniques very difficult. In addition, they point out a distinction needs to be made between the kind of vibrato used by a solo player, and the sectional vibrato of an entire string ensemble, which can't be heard as a uniform quantity as such. Rather, it manifests itself in terms of the warmth and amplitude of the sound produced, as opposed to a perceptible wavering of pitch. The fact that as early as the 1880s composers such as Richard Strauss (in his tone poems "Don Juan" and "Death and Transfiguration") as well as Camille Saint-Saëns (Symphony No. 3 "Organ") asked string players to perform certain passages "without expression" or "without nuance" strongly suggests the general use of vibrato within the orchestra as a matter of course. Although there is also a convincing argument to be made that since 'nuance' and 'expression' were affected using many other devices as well as vibrato, Strauss and Saint-Saëns could easily have been referring to any number of expressive devices that formed part of the late romantic palette.
Despite this, the use of indiscriminate vibrato in late Romantic music is still common, though challenged by Roger Norrington and others of the historically informed performance movement. Performances of composers from Beethoven to Arnold Schoenberg with limited vibrato are now not uncommon. Norrington caused controversy during the 2008 Proms season by conducting Edward Elgar's Enigma Variations, and the Last Night of the Proms, in non-vibrato style, which he calls pure tone. Some take the view that even though it may not be what the composer envisioned, vibrato adds an emotional depth which improves the sound of the music. Others feel that the leaner sound of vibratoless playing is preferable. In 20th century classical music, written at a time when the use of vibrato was widespread, there is sometimes a specific instruction not to use it (in some of the string quartets of Béla Bartók for example). Furthermore, some modern classical composers, especially minimalist composers, are against the use of vibrato at all times. In the 21st century some orchestras are now playing with noticeably less vibrato
amezcua - Posted - 09/14/2009: 12:47:49
I`ve been away for a while in Frets Net land.There are other topics that have my "made up" way to learn vibrato but I shall do it again for y`all.The basic problem is not musical.What you need to do is roll the fingertip to and fro without the fingertip skidding around and losing the note, Get a piece of wood about violin neck thickness.Wrap some coarse sandpaper round one end with some elastic.Sit yourself in a comfortable armchair and rest your elbow on the arm.Hold the wood under your chin with your right hand.The left hand has a very simple job to do.Very gently place a finger on the sandpaper and copy a player on u tube.The finger will not skid away and your arm will learn the movement without any distractions.Do this each day for ten minutes each time you remember and your brain will gradually "get it".The other half is developing the muscle stamina to keep it going.You should be there in about two weeks. It worked for me in 2 weeks.after years of not learning the traditional way.Let me know if it works for you.
Wood Sandpaper Armchair Go.
Henry George - Posted - 09/16/2009: 19:20:47
Leopold Auer: Violin Playing as I Teach It (1920). Suggests a good remedy for those who are unable to play without *continual* vibrato......
"There is only one remedy which may be depended upon to counteract this ailing nervous condition, vicious habit, or lack of good taste—and that is to deny oneself the use of the vibrato altogether. Observe and follow your playing with all the mental concentration at your disposal. As soon as you notice the slightest vibration of hand or finger, stop playing, rest for a few minutes, and then begin once more, continuing to observe yourself. For weeks and months you must continually guard yourself in this fashion until you are confident that you have mastered your vibrato absolutely, that it is entirely within your control.
… As a rule I forbid my students using the vibrato at all on notes which are not sustained, and I earnestly advise them not to abuse it even in the case of sustained notes which succeed each other in a phrase."
BTW, my finger tips are too soft for *coarse* sandpaper...........:-))
Regards.
Henry.
I can hear music,sweet,sweet music.
amezcua - Posted - 09/17/2009: 06:08:50
Henry I chose coarse sandpaper because you can`t do anything except roll the fingertip.You are also less likely to grip down on it.It does seem a counter intuitive thing to do.I revised my way of fixing the sandpaper with glue as that might be a bit too technical .Everybody knows about elastic. Another benefit is you will soon realise if your nails need trimming.New players fingertips have all the pores open and sweaty (nasty) and that will only make then skid around.
However Mr Auer would have kittens if he could hear the excessive vibrato of some recording artists currently playing.Have you ever listened to a (familiar)piece of music and not been able to make out what the tune is for quite a long time as it gets swamped by vibrato?Normally I pick up what the music is in about 2 or 3 notes.
Great to chat all the way to Australia.
Henry George - Posted - 09/17/2009: 23:48:28
I'm a firm believer in what works for you.......go for it!
And that's the path I took, but all I can say is.....I'm glad I found that excersise in that book I mentioned because I think I would have probably tried the sandpaper method. It may have taken me a little longer than 2 weeks to acquire a vibrato, that's because the excersise has so many steps to practise. But I don't think I wasted my time doing them because now I only need to work on Auer's remedy.........:-))
Regards.
Henry.
I can hear music,sweet,sweet music.
Rene - Posted - 09/27/2009: 08:25:53
I'm gonna give the ole sandpaper a try. Only problem is trying to decide if I want to have the vibrato coming from the finger tips or more of an arm vibrato. I'll try and remember to post the results after I've tried them for a couple weeks....providing I have any skin left on the fingertips to type with.
Family, food and fiddles....aaah
phicks - Posted - 09/29/2009: 15:33:50
For those beginning to use vibrato, try hitting the note with no vibrato at first, then ease the vibrato in. You get a building effect. This way you are sure of your intonation before the vibrato begins.
I try not to use vibrato, but it sneaks in on its own.
Pedro
fiddlenbanjo - Posted - 09/30/2009: 04:05:21
Does anyone use vibrato on open strings?
I saw someone do this for the first time today. You waggle your hand back and forth over the strings with your thumb firmly planted in the curve where the neck meets the headstock. Somehow it creates a kind of vibrato sound. Amazing.
amezcua - Posted - 09/30/2009: 04:56:20
Rene First and easiest vibrato is from the wrist.Look at David Oistrakh play Clair de Lune.If you hold your hand up palm towards you ,look at the straight thumb as a pivot of a hinge. Hold the edge of the other hand along the thumb and flap your hand to and fro.Just picturing the shape of that movement will get you closer to the solution.Watch Oistrakh`s thumb tip and finger tip.It is hard not to just enjoy his lovely playing and you may need to turn the sound down. I have never really understood what people call finger vibrato and it may cause lots to grip too much. Try to aim at a good wrist vibrato first and be conscious of not shaking the violin neck.That`s the hard bit.Probably easier for the ladies to learn if you think of bus driving.Men drivers are rough as old boots , where lady drivers are smooth as silk and you can stay in your seat on roundabouts.
When you get the hang of wrist vibrato ,the arm type uses different muscles so it`s best treated as a new project.
Arm vibrato moves the "pivot" down to the elbow.Keep the wrist straight and keep the fingers supple.This gives a wider oscillation (nothing to do with kissing btw). Arm vibrato will give a possible problem with gripping with your chin and shoulder if you`re unlucky so watch out for that. Always ------gentle fingers on the fingerboard and short nails to give a roll. Remember that the thumb rolls a bit too.Also each finger has a slightly different vibrato physically.
Easy peasy.
amezcua - Posted - 09/30/2009: 05:12:34
I `m glad this vibrato topic is active as it can make a lot of players happy .Quite often the topic takes a sharp left turn and becomes when to vibrato and not how to vibrato.Sorry to highjack it as a verb. All good information but how to do it is the thing we all need .
It`s a physical movement and too quickly gets swamped by later worries about taste. First --catch your rabbit.
Ozarkian D.L. - Posted - 09/30/2009: 06:18:17
I've tried....it eludes me....I'm a chest player....is it still possible ?
amezcua - Posted - 09/30/2009: 11:41:36
I think so .Nathan Milstein could play on his chest.Try without the bow first.Just hold it still while you do it.Bodies are clever things if you give them a chance. I can`t do it but I never really tried that.Hey ,why is everyone making life awkward for me? Only kidding.
DwarfMaster - Posted - 10/27/2009: 13:49:35
I can do vibrato sometimes, usually if I'm relaxed. Been playing for about a year and a half, and it takes time to get it, so don't get discouraged. I do both arm and hand vibrato, and both seem to be as effective as the other. I started by bracing the violin against a wall or something(mind you, very nicely) to help get rid of the wiggling of the whole violin, or by just letting it set relaxed on my shoulder and not holding the violin at all with my thumb. Moved to "doing it right", but sometimes can't do it when I'm nervous. Vibrato can put a lot of emotion into a slow tune.
Certainty of death? Small chance of success? What are we waiting for?
Edited by - DwarfMaster on 10/27/2009 16:10:59
Catgut.Laboratories - Posted - 11/02/2009: 11:26:37
I totally consider vibrato as ornamentation, and use it in 2 ways:
one is on long notes, where i use a 'hand' or 'wrist' vibrato, and then i only use it on the last half of the note, easing in slowly.
the other is a very quick 'arm' vibrato which i like for faster notes, like a quarter nestled in a bunch of eighth notes.
both styles require you to pull your index knuckle away from the neck, so you are not squeezing. youtube is great for vibrato tutorials.
as far as using it to hide poor intonation, if your vibrato only dips below the root note (which it should) the listeners ear will register the root note as being in tune
Charlotte Matis
tomfoeofboredom - Posted - 11/17/2009: 13:21:36
I think it's really good to LEARN the hand vibrato (not arm vibrato) because it forces you to relax your hand. Once you relax your hand, you can relax your left arm, and even your bowing arm. If you can play relaxed your playing will be easier, better, and not as tough on your body.
I found it hard to learn. I could do it very slowly--too slowly to be useful--and was working on it and making very little progress. I started thinking it would take me years to get it. And then one morning I woke up and found I could do it just fine!
Once you learn it. THEN decide whether to use it or not. I don't use it much myself, but it's a nice thing to have in your bag of tricks. I really like the way Daryl Anger and Alison Krauss use vibrato, because they vary it in subtle ways. Maybe the note will start out with no vibrato and have more and more towards the end. The vibrato can get faster or slower, wider or narrower, or be combined with changes in volume. Check out Daryl Anger's break on Tony Triska's "Blown Down Wall" for some really amazing vibrato. (Of course, it ain't bluegrass!)
I find myself sometimes ending a solo on one long note, getting quieter as the singer comes in, but adding vibrato at the same time, to keep up the fiddle presence without drowning out the singer. I believe Alison does that sometimes.
I'm less interested in the more uniform, mechanical kind of vibrato a lot of people use, especially when overdone and syrupy.
With old-time fiddling it can be different...Jody Stecher uses something he calls a "shake" which sounds like vibrato but isn't, according to him. He also plays with his fingers flat on the strings (instead of arching his fingers the way classical players do). This gives him a fatter, old-timier sound, but is tough on his fingers!
Peghead - Posted - 11/25/2009: 09:06:53
Once it is mastered, you must vow never to use these powers for evil.
Edited by - Peghead on 12/21/2009 12:50:56
Percy - Posted - 01/23/2010: 08:35:38
I'm just dipping my toes in the "vibrato well." For the types of tunes I want to play (ballads, airs and waltzes), it's almost required... but as most folks have said here -- sparingly as an ornament. It sweetens those long notes... And I believe one should have a handle on good intonation before starting to work on vibrato. If you listen to great fiddlers who use vibrato as an ornament (Jay Ungar, Aly Bain), their intonation is spot-on... and when they add vibrato to those long sweet notes, it can melt your heart.
If you listen to music of most any kind from the first half of the 20th century, vibrato was WAY over-used. Listen to a vocal recording from the 20s and it just sounds strange... It may have been in fashion then, but it really doesn't work anymore. But on the other hand, slow ballad-type music without any vibrato can seem a bit empty...
blonde girl - Posted - 01/23/2010: 11:09:09
There is "vibrato" and then there is "rubato". Two totally different things.
Let me get back to you....
Jan
Percy - Posted - 01/23/2010: 11:29:20
I use "rubato" quite frequently -- in both my fiddling and my vocals (when I'm accompanying myself on guitar or piano). That is certainly one of the reasons I fight with metronomes. I'm not saying I can't play with a constant rhythm... that's what drummers and bass players are there for! But when playing an emotional, romantic piece, I've found that these tempo changes can add amazing depth and emotion to a piece. But again, it has to be be sparingly applied. Less is more. It's like dynamics in music. If everything is at a constant volume, we lose depth. It is "light and shade" that tugs at the heart.
amezcua - Posted - 01/23/2010: 13:33:46
Percy You will confuse the beginners. Vibrato is nothing like Rubato. It only sounds like it.(the word ,I mean )
You know that and I know that but the beginners don`t.
On another violin site a player made some changes which he said were "really good" ----The exact word he used was----Abysmal. (For beginners ,that`s the exact opposite of what he meant.) With 1330 posts under your belt you must look after the beginners.
You know people have rows about using the word "song" for an instrument piece.Well if you play the notes as they are sung with words it will certainly tug at your heart. So have a listen to this old Irish recording that will sound better if it`s played as it is sung (with rubato ) Play it like a little story with plenty of vibrato. The Spinning Wheel sung by Delia Murphy. It always makes me cry.
amezcua - Posted - 01/23/2010: 13:53:33
Percy Just to save you a bad experience.Avoid all the bad imitations and google Delia Murphy on it`s own.Then get the picture of a record with His Masters Voice. The copiers are terrible. You want the genuine Irish accent. (like my Auntie Bridget.)
blonde girl - Posted - 01/23/2010: 14:30:24
Vibrato, is the movement of the finger on the string that changes pitch.
Rubato,is the change in tempo(tempi), to allow for playing with feeling. Percy knows this and didn't start this, I did(sorry).
BC - Posted - 01/26/2010: 14:35:58
blonde girl and Percy - Thanks for the discussion of vibrato and rubato. While I am only a newbie (wait - I've graduated to beginner) and at least a couple light years away from even thinking about vibrato; now at least I know the word for what I've been trying per Gordon Stobbe's bowing video. RUBATO! I almost feel like a grown-up!
amezcua - Posted - 01/28/2010: 11:49:22
Percy and blonde girl Ever so sorry I missed the post there..I came through via an e mail so it starts in the middle. Talking about word meanings ----my English teacher was at University for 6 months and he would hear long discussions about "the franchise " .It took him that 6 months to figure out what it meant. --Voting! BC Vibrato is not that hard if you can just "get it ".The trick is a loose stationary thumb.Try holding your thumb and moving the palm and fingers together. (without holding the fiddle). Mentally draw a line from thumb tip to right side of wrist joint.That line is the pivot. Use the right hand pinky to keep the thumb still , then do large slow movements with palm and fingers together.
I`m going to see if Jack Benny could do it.
aj - Posted - 01/28/2010: 14:47:01
I'm just beginning to work on vibrato (3 weeks±). My teacher says to pretend you're knocking on the door of a speakeasy with the back of your hand--that's the wrist movement. Right now, I'm working on scales with 2-3 vibrations per note. He also says that at Juilliard, a student is required to practice 6-7 hours per day and 45 minutes of that should be vibrato practice. And these are people who have to be super players just to get in. I ain't quite that dedicated.... BTW, FWIW he also said expect it take months to get a decent vibrato.
Edited by - aj on 01/28/2010 14:50:17
amezcua - Posted - 01/30/2010: 10:43:30
Captain Kirk I think we`ve entered a time warp. aj said -----Speakeasy. 6-7 hours .Does that include busking? Do the students keep a Log Book ? (Captain`s Log? ) The 45 minutes would be split up through the day, I imagine. But you vibrato while you play ,so that seems a bit strange. Is there a detailed description of the courses to encourage / put off hopefuls. Imagine a Guantanamo version of Jiulliard .Nobody leaves until they pass the course. " Back in your cage and practice or no bread and water for you , wee swine that y`are !"
baylady - Posted - 02/01/2010: 11:54:07
Recently I saw an online video lesson on vibrato....interestingly, the fiddler said there should only be two points of contact with the fiddle when doing vibrato......thumb under the fingerboard and vibrating finger on the string. In other words, the fiddle should not touch the base of the index finger for support. I haven't tried this yet......can anyone comment on this technique? Unfortunately, I can't recall the video in question....maybe it'll come back to me! :-)
aj - Posted - 02/01/2010: 18:15:38
amezcua-
I've heard of Fiddle Hell, but Fiddle Gitmo sounds downright torturous!
amezcua - Posted - 02/02/2010: 03:52:52
aj Gitmo Never heard of that one. I often try to put a description of vibrato into words.I think I`m getting the hang of explaining it now. If a player knows what he /she is trying to do in the first place they can work out their own way . So , mentally, draw a line from your thumb tip down along the thumb and straight through your wrist. That is the pivot line for a vibrato movement.Don`t let your thumb get tense.Keep your fingers slack.( Practice the pivot without using any fingers to start with.) Even, try putting a small patch of double sided tape on the neck , underneath your thumb.. If your thumb tip waggles around too much ,everything else will waggle. So ----not too much waggling. The thumb tip can pivot.That`s good.
coelhoe - Posted - 02/02/2010: 10:16:13
Maybe this is posted elsewhere above, but it seems to be that the vibrato required by classical technique is somewhat different from that used by fiddlers, mostly because of the content of the strings. Metal core strings require very, very little movement of the placed finger to acquire a vibrato and this is largely obtained by the pivot movement of a placed finger caused by a slight motion of the wrist. I believe that fiddlers and classical players have trouble verbalizing a comprehensible description of vibrato technique because they are each visualizing something different. Teaching some one how to use vibrato for fiddle tunes, waltzes mostly, is the work of a week or two at most in my experience, once they have control of bowing and the tune.
amezcua - Posted - 02/03/2010: 03:27:28
coelhoe It`s possible you are just very good at explaining how to do vibrato. The strings on classical violins are mainly flexible fibres (mimicing gut ) and wound with aluminium or some light metal .Only E strings are solid metal.There are lots of traditional instrument classical fiends who only touch natural gut. (fiends in a friendly way ). The hands and fingers won`t be much different. Interesting to see Menuhin playing with Stephan Grappelli. Maybe I`m thinking about the way Grappelli would do a delicious slide up to a first note.A classical teacher would scold a kid for that straight away.Maybe they all get told off too much when they start.That will stop them experimenting. My daughter before she went to school would drag a chair across to reach the door handle. After she started school she would say-----I can`t reach. School was teaching her to be helpless.
Maybe that means something.
Henry George - Posted - 02/03/2010: 13:15:14
John, just like your "broomstick 'n' sand paper method", the vibrato excercises are practised seperately from the music in the beginning, so to enable 100% focus.
There are only two points of contact, thumb and finger tip, but the base of the index finger can 'touch' lightly the fiddle. To achieve that 'practise' without touching, because excesive pressure will reduce the vibrato to a 'shake'.
quote:
Originally posted by Henry George
I began learning vibrato from an excercise I found in this book.................Muller/Rusch String method, book 3.
It begins with your left arm in playing postion without the violin........
1) Swing your whole hand from the wrist and wave 'good bye to yourself'.....
Start with the hand upright or in the middle of the motion and swing the hand away from you then toward you. Keep your arm still and make your wrist swing for 30 seconds.
2) Hold the instrument like a ukelele, keep the heel of the hand against the rib of the instrument . again swing from the wrist and wave 'goodbye toward the bridge.
3) Place the second finger on the D string and repeat the waving motion. Allow the finger to slide on the string at least 2 inches so your hand is relaxed and swings from the wrist.
4) Anchor the second finger firmly on the D string and follow through with the same swinging motion, now the finger merely rocks back and forth on it's 'tip'. The swinging motion becomes smaller when the finger is firmly anchored. Practice with each finger. Do steps 1 to 4 for 5 minutes every day for 1 month.........
Now you should be ready to place the instrument under the chin, with the left hand in third postion ( so that the heel of the hand rests against the rib ). Practice step 4 several times.
Control of the vibrato motion is achieved by timeing it first to crotchets....back on the first beat then forward on the second.......etc.
Double the speed to quavers and then again to semi-quavers........ 30 seconds for each rhythm.
I also practiced vibrato in the triplet rhythm.......1=back, 2=forward, 3=back, 1=forward, 2=back, 3=forward.
For a slow/wide vibrato I generate it from the elbow maintaining a flexible/relaxed wrist and finger.
Finger vibrato, I believe, requires a different action....up and down, like the trill action.....
I can hear music,sweet,sweet music.
Learner - Posted - 03/12/2010: 20:12:43
quote:
Originally posted by baylady
Recently I saw an online video lesson on vibrato....interestingly, the fiddler said there should only be two points of contact with the fiddle when doing vibrato......thumb under the fingerboard and vibrating finger on the string. In other words, the fiddle should not touch the base of the index finger for support. I haven't tried this yet......can anyone comment on this technique? Unfortunately, I can't recall the video in question....maybe it'll come back to me! :-)
Edited by - Learner on 03/12/2010 20:35:04
Learner - Posted - 03/12/2010: 20:14:58
oops.....reposted.
Edited by - Learner on 03/12/2010 20:15:40
amezcua - Posted - 03/13/2010: 00:05:25
Learner You may have a different type of thumb to me.And it`s on your lap.If it was my thumb (quite hard to put this in words sometimes ) I would be doing too much with it.It`s as if you are putting the thumb in a "position".Maybe the best picture I`ve seen for this is Nathan Milstein where his thumb looks in line with the forearm. It looks as if it`s not doing anything.Your thumb may settle at that position on it`s own though.You may be 100 per cent OK.It`s what it feels like to that counts.Glad it`s working out for you.
Don`t rely on players not using thumbs at all though.The leverage is really bad for the neck area if you try that.Black mark for that bad example you were shown.It may take years for that habit to bite back. So one good ,one bad.Not a bad average.
Henry George - Posted - 03/13/2010: 17:49:15
There is also a 'little ledge' at the base of the index finger, very handy for playing the violin without 'any kind' of shoulder rest.
The pressures on the neck are regulated for different applications such as playing chords where a little extra grip can be used.
And pressure is released to enable easy shifting.
Tommys dad - Posted - 04/17/2010: 06:34:28
Hey thanks for the link! I have a cd with Bruce Molsky playing "don't bury me on the lone prairie" I've wanted to learn to play it and I down loaded the whole song for fiddle off the site. As for vibrato, my classical playing son who thinks blue grass is some kind of music blasphemy, uses vibrato on some of my fiddle tunes and it does sound better. I haven't mastered it but know I need to get comfortable with it.
tommys dad
quote:
Originally posted by fiddlerJ
Don't know if this will help or not, but it helped me a WHOLE LOT. Sorry i cant get the link to the videos im not very computer literate. But just go to the tabs page and scroll all the way down to where it says fiddle and vibrato technique. Its pretty good stuff!
jaybuckey.com/free_tablature.htm
frogeyes - Posted - 04/17/2010: 13:31:56
man am I having issues with vibrato its driving me batty my arm is so stiff i am really having to work at it bigtime
Couchie - Posted - 04/19/2010: 17:44:24
quote:
Originally posted by BC
now at least I know the word for what I've been trying per Gordon Stobbe's bowing video. RUBATO! I almost feel like a grown-up!
amezcua - Posted - 04/21/2010: 04:07:44
frogeyes That`s OK Stiff muscles just shows you what parts are learning.Find a way too loosen up those muscles as they may get too tight.Tight vibrato muscles can give you tensions and pain so maybe even write down exactly where it hurts now before you forget.It`s a slow process but it will pay off.The body will adapt but don`t get too impatient with it.
bsed - Posted - 04/21/2010: 18:22:47
quote:Thankyouthankyouthankyou!!! (A personal pet peave of mine, 'case you couldn't tell.)
Originally posted by amezcua
Percy You know people have rows about using the word "song" for an instrument piece.
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