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Violin Lessons: Intermediate Vibrato

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[MUSIC]
In this second look at vibrato,
I'd like to talk about how vibrato needs
to vary
according to several different factors.
One is the string, G string the thickest
of the four strings simple can't
tolerate the same kind of narrow and fast
vibrato that the E string could.
[SOUND] It just sounds pinched or, or
choked.
So, whatever your default vibrato speed,
it needs to be a little slower on
the lowest string, faster on the highest
string and the width will also vary.
G string naturally will have a wider and a
slower bravado.
E-string narrow and faster, now that's
relative.
Doesn't mean that all your bravado on the
G string needs to be quote unquote,
slow and wide.
But if you were playing the same theme in
different octaves.
[MUSIC]
You'd
wanna change it
on the G string.
[MUSIC]
And that's for a couple different reasons.
One, one is just physical that the string
is thicker it doesn't respond as quickly.
But also because composers choose the
octave in which they write
notes in which they write lines based on
the sound they have in mind.
So the G string is simply going to have a
different quality of sound.
It is going to say something different and
the vibrato needs to reflect that.
Think also now about, how you can connect
vibrato through several different notes.
The most important points are the
beginnings and the ends.
Too often, I hear people starting the
vibrato late and
cutting it out early, and we get these bad
habits.
[MUSIC]
There's
simply no way to make a cohesive line like
that.
The vibrato at the very end of the bow and
at the very beginning of the bow needs to
be maintained.
[MUSIC]
In this way you can sing a whole line and
you won't have dead notes which
are the other bane of vibrato.
Dead notes come in most frequently when
the speed
of the notes is in that sort of in between
phase.
Where it's slow enough to be vibrated but
quick enough that often we get distracted
and we forget to listen for dead notes.
[MUSIC]
It's very easy with certain
fingers, most usually one and
four to have dead notes where
we just forget to vibrate in.
[MUSIC]
Or
delayed bravado as I did on that last
note.
It takes a long time and
a lot of conscientious listening to
eliminate dead notes.
Not that we wanna vibrate every note all
the time but
you have to be able to vibrate every note
when you want to.
It's much easier to remember to place a
dead note deliberately than it is
to vibrate every note if you're not in the
absolute habit of doing it.
Last thing I wanna talk about are bravado
accents,
these often happen on the E string and
it's a bravado accent if it's an accent
you didn't intend to put in with the bow.
But is just caused by the left hand.
[MUSIC]
It's often a question of vibrato and
finger pressure on the string.
We all have certain fingers that are
stronger vibrators than other ones.
And so you always have to be on guard but
the vibrato matches across the four
fingers and
that no one finger is hijacking the
vibrato and placing an accent.
So what I'd like to see from you in the
video is a scale on each string,
let's say going up an octave.
[MUSIC]
So I can see how your bravado
changes from the G to the E string.
The bravado should be continuous that it
goes from one note to the next
without a gap.
Then I'd like you to start the scale a
whole octave up from the open string
because as you get closer to the bridge
and the string length gets shorter,
the vibrato will have to get a little more
focused as well.
[MUSIC]
Just to maintain the same sound and
the same expression.
Finally, I'd like you to show me a scale
on any string you'd like,
any octave, but one note per bow.
So that I can see your bravado continuing
right up through the bow change and
in to the beginning of the next note.
[MUSIC]