The Vibrato Dilemma

Wouldn’t you know, I’ve been asked, once again, to comment on how I recommend cultivating that warm, rich, even vibrato that everyone wants to have.

It’s tempting to begin by saying it’s a skill somewhat akin to riding a bicycle; once learned, never forgotten. Yet in my experience it’s a little more complicated, rather like riding a unicycle – funny how THAT came to mind.

Unlike a bicycle, riding a unicycle requires a more constant presence of mind. A truly effective vibrato does too, at least in my experience.

It’s not something to just turn on like a light switch. It is, after all, an expressive device. And I like being as much in control of my expressive devices as possible.

This being said, there is, I admit, a reflexive or automatic component that must kick in, at a certain point. The thing is, though, many folks try to force the issue, way before they’ve trained their arm, wrist and hand in the proper form.

So what’s the proper form.

First, a good vibrato starts from the pitch, and oscillates down some fraction of a step before returning back to the original pitch. It does not go above the pitch; unless you want your listener’s hair standing on end.

Number two, the motion must be even throughout, like a nice sine wave.

Most teachers have students begin learning vibrato in 3rd position, and I agree with this. The reason for this is, the wrist can be lightly in contact with the rib of the violin and used to keep the wrist from wiggling back and forth during the motion; and you want the wrist to be stable, it’s just the hand that moves.

Now, there is something called an arm vibrato, which some people find easier than a wrist vibrato. The only problem with using this type, however, is that I find folks who rely on it often vibrate above the pitch, producing that hair-raising effect I mentioned above.

But getting back to the wrist vibrato, let me say something about the patience and mindfulness that goes into it. One must first understand the motion in detail, something I can’t do in an email but I demonstrate in months 7 and 8 of ‘Beginners Circle.’

Suffice it to say, relaxation is key. As is a well-formed hand and a soft touch with the left hand, particularly until the motion is well understood by the body.

As you will notice with anybody demonstrating a good wrist vibrato there is some flexibility required of the first knuckle of the fingers. This is something one might need some SLOW PRACTICE to acquire.

And as you gently urge the hand into more accelerated movements you must not push beyond your ability to hold form. Ultimately you arrive a combination of reflexive movement and consciously directed movement.

You’ve got to have the ability to change, at will, the width and speed of your vibrato in producing the various colors actual music demands.

In my ‘Beginners Circle’ program I allocate a considerable amount of time to demonstrating and assigning exercises to develop a fine wrist vibrato. And though I’ve been known to send these months out separately, on occasion, experience has shown that folks needing help with vibrato can also benefit in big ways with other technical aspects of violin playing.

All the best,

Clayton Haslop

P.S. Once again, here’s the link to get started with Beginners Circle’ on either a monthly or an annual basis.