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Vibrato Interview: Good Vs.Bad 2 Responses Posted: March 14, 2010 Last Comment: March 16, 2010 |
Replies
Posted: March 16, 2010 |
I approach vibrato much like you do Roy. I have thick fleshy fingers, though I do focus on a deeply relaxed 1st joint as a general guide--extending the relaxed concept all the way to my does, with plenty of instrument height when reaching.
I had to approach it from the top down with the help of a teacher from Germany. This means, using the old-school technique whereas one, makes larger motions along the fingerboard narrowing them down into the oscillation. That, is what worked for me anyway. As my relaxation and Auer-inspired instrument hold began integrating with my overall flow, my vibrato improved.
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Posted: March 15, 2010 |
Fantastic presentation about how to do and teach vibrato. I struggled with vibrato for years, read everything in print about it, worked with many teachers. Now my vibrato is quite serviceable but I learned a lot, particularly about cultivating the looseness of the fingers and also about the idea of pulsating so that the finger is below the pitch most of the time and then pulses rapidly up to the pitch.
In my own vibrato I don't use the freely swinging first joint of the finger so much as a rolling motion with the finger rather flat and rolling on the string sort of like a log rolling. Also because the fleshy part of the finger is on the string, there is some give in the flesh of the finger which produces a supple oscillation of the pitch. I notice that in the Dvorak quintet excerpt Stephen does a lot of this even though he does not talk about it specifically.
Also I was wondering what you think about the similarity of the movement from the wrist joint in both hands. The LH movement produces the vibrato and the RH movement produces the sautillee and/or the fast string crossing. |