String Clinic Efl
Devoloping Violin Vibrato
ll intermediate string stu-
dents should develop a beau-
tiful vibrato. Through teach-
er demonstrations and listening to
performances by great artists, young-
sters will develop a concept of good
sound. Violists and violinists often
struggle to learn vibrato although in
my experience this stage is a turning
point for many students. As they
learn to shift positions easily and pro-
duce a beautiful sound with good in-
tonation, they are motivated to con-
tinue studying. lf frustrarion over-
whelms all efforts to make the instru-
ment sing, they are more likely to
abandon lessons.
\fhile teaching correct violin and
bow positions, many teachers over-
look the physical tension that leads to
rigid muscles and locked joints. This
problem hinders progress and leads to
tendonitis. Teachers should watch
that students do not develop faulty
habits.
Teachers should introduce vibrato
when a student has the hand strength,
coordination, and motivation to learn
this skill. Most teachers wait until a
child has a well-shaped left-hand posi-
tion, good intonation in the first posi-
tion, and can play in third position.
String methods usually introduce
37 THETNSTRUMENTALTsT/ MAY 1994
by Jerrie Lucktenberg
third position by the third book. All
things considered, it is better to begin
vibrato training too soon than too
1ate. The left hand should remain flex-
ible, particularly in the joints nearest
the nails. Flexibility combined with
strength at the knuckles is the basis
for a well-controlled vibrato.
ln the first half of the 18th century
the great Baroque performers en-
hanced the expressive qualities of
compositions by using vibrato as an
ornament. In the early part of this
century, Jascha Heifetz used a steady'
rapid vibrato. More recently lsaac
Stern and ltzhak Perlman vary the
speed and width of the vibrato for a
wider palette of tone colors. Too often
students use vibrato to mask intona-
tion problems instead of for artistic
purposes. Some students develop an
even vibrato and use it without ever
exploring the different tones and tim'
bres that can range from luscious
warmth to shimmering lustre.
\Vhen asked to describe how vibra-
to should affect a pitch, the majority
of young violinists incorrectly reply
that it ought to move above and be-
low the pitch. The ear will invariably
pick the highest pitch in a vibrato
cycle, so if tone goes both above and
below the pitch, listeners will perceive
the note as sharp. A correct vibrato
should go from the pitch to below and
back up. With lower strings and lower
pitches, a wider vibrato is appropri-
ate; higher pitches should have a nar-
rower and faster motion because
pitches are closer together in the
higher registers. Many students have
not discovered these nuances and
tend to sound sharp.
Vibrato entails coordination of
hand, arm, and finger. Students
should master and combine all three
to produce different moods, using
slower technique {or dolce passages'
and increasing speed and width to
build excitement.
Players should learn hand vibrato
first because it is the most relaxed,
with an impulse from the back of the
hand. Students can begin by setting
the hand in third position with the
heel placed against the ribs of the in-
strument so the wrist cannot move
back and forth. Then they should
wave the left hand toward the face
without touching the strings. The
thumb should remain stationary with
the fingers loose and relaxed. Make
sure that the base of the first finger
moves freely along the neck rather
than clamping to it in opposition to
thumb pressure. Clutching the instru'
ment between the thumb and base of
the first finger commonly prevents the
development of a beautiful vibrato.
A reflexive, cyclical motion pro'
duces good vibrato. Students can
begin by simply waving the hand
slowly; when fingers are placed on the
string, slow-motion practice will train
muscles correctly. The fingertip
should roll evenly and consistently
along the length of the string without
turning or rotating the hand. Because
good vibrato begins and ends on the
desired pitch, the striking finger
should land on the note in a curved
position and ro11 backward, flattening
the joint nearest the nail and return-
ing to the curved position.
Long fingernails make good vibrato
technique nearly impossible. Give stu-
dents the choice of clipping the nails
immediately or returning for a lesson
when the left hand nails are as short
as possible.
To strengthen muscles and build
brato speed, students should begin
with the index finger in third position
on D with the finger curved ar both
joints, indicated by a[, and Cf with
the finger rolled back into a flattened-
joint p-sition, indicated by u N. . Th"
other fingers should be in a relaxed
playing position. I use rhythms to de-
velop control and to provide repeti-
tion with variety.
trN
34 THE INSTRUMENTALTsT / MAY 1994
times before stopping naturally. Ppai-
tice with the bow after a few initial ex-
periments. Coordinate the vibrato
with the start of the bow stroke, and
do not force a continuing vibrato. En-
courage players to feel a quick and
easy vibrato impulse. A sustained vi-
brato will develop as a series of these
impulses. Some students begin or end
vibrato with a spastic, jerky motion
but can conquer this problem by us-
ing a simple etude played with a mea-
sured vibrato on alternating notes.
Wohl fahrt , Op. 43 No. 3l
After establishing the correct mo- D
1
\
I
tion of the index finger, students
should practice this rhythmic routine
on each finger, even the pinky, begin-
ning with the more comfortable t\33
ln crossing to the lower
strings.
strings, the left elbow should move
further to the left and under the in-
strument; the opposite occurs on the
higher srrings. This elbow motion is
important in maintaining a balanced
hand and can only happen if there is
mobility in the left shoulder, rather DN
than a tight grip between shoulder
and jaw. The motion of the left elbow A faster vibrato can be based on a
when changing strings parallels the triplet rhythm.
lifting and lowering of the right
elbow, which should keep the right
upper arm on a plane with the bow.
The right arm should move higher for
the lower strings and relax nearer to
the body when approaching the E
string. \Vhen students are proficient
on this exercise, they should increase n\
33
vi the vibrato speed.
!\
!N !\ trN
11
E g : :
AJ
DN
- 33
Students should learn to change
bow direction without stopping the
vibrato and maintain a continuous
flowing vibrato while switching fin-
gers. A helpful exercise is to repeat
As the vibrato gets faster, it will cover
each note of a scale, slurring to the
a smaller range, perhaps only a quar- next note, and listening carefully for
ter tone below D before returning to continuity in the vibrato. Keeping the
the pitch. next finger close to the string helps
\uhen students master these mo- solve difficulties when moving to the
tions with all fingers and strings, they next pitch.
are ready for another approach to the
reflexive vibrato. Starting with the
fingertip touching the string without
pressure, they should depress the
string to initiate vibrato. Allow the
finger to rock back and forth a few
 ought to be well-balanced in"reiatiori
to th" thumb so that the hand and
arm can swing smoothlY. Even minor
adjustments in left elbow position can
significantly alter hand balance. Place
the elbow where the relationship be- Students should learn to transfer
tween the finger and thumb allows for these skills to first position and then
the most relaxed movement of the fin- to al1 positions. 'When moving the
gertips. It may be necessary for some hand to the first Position, PlaYers
,trrd".ttt to abandon vibrato entirely relinquish contact with the body of
to practice some corrective exercises' the instrument and use the thumb as
Ultimately, achieving a beautiful vi- a pivot point from which the hand
brato is a challenge for violinists and swings like a pendulum.
violists, particularly because these in-
struments demand an unnatural play-
ing position. However, the laborious
,t"pt will produce great strides
"uily
tolvards advanced PlaYing and maY
give students the motivation to con'
iinue their studies. n
Sight,Reading Book
Ardsley House Publishers released
Learning to Sight'Read Jazz, Rock,
Latin, and Classical Sryles by \7i11ie L'
Hill and Bob MontgomerY. The book
addresses concepts of subdivision,
touch the neck of the instrument dur-
awareness of time in measures, antici-
ing this practice. The downward pres-
pation of correct stylistic articulation,
sure should coincide with the forward
u.rd a..rl.ut" placement of notes and
ro11 of the finger, and the slight release
rhythm.
should coincide with the backward
motion and flattening of the joint. New Violin
When combined with hand-and-arm Meisel Stringed lnstruments added
vibrato, this motion enhances the a new student violin, model 6107, to
sound without applying great pres- its line. This violin features a flamed
sure. The alternating pressure and re- maple back, closely grained spruce
lease should not squeeze the string un- top, and ebony hardware. The stu-
necessarily, and the slight release of dent outfit, available in 1/B to full
pressure coincides with the backward size, includes a Glasser bow and ther-
rolling motion and the flattening of moplastic case with valance.
the joint. At this point students should add
The part of the fingertip that lands Violin Competition arm movement to the hand vibrato'
on the string also affects timbre. At The Foundation of Lower SaxonY is This technique involves a slight push
the fingertips skin tends to be thin, presenting the Second Hannover ln- of the forearm from the eibow to coin-
with little flesh between it and the iernational Competition, October 30 cide with the forward roll of the fin-
bone. Calluses are likely to form there to November 12' 1994. The comPeti- gertip to add intensity to the sound'
in direct relation to the time spent tion is dedicated to Joseph Joachim, tnir is essential for high-position
practicing. A vibrato produced at that concertmaster and concert director in playing, where the thumb and finger-
point may have a brilliant but thin Hannover from 1853 to 1866. FortY iip ut" often the only contact points'
sound; vibrato on the fleshY Part of artists, ages 16 to 30, will compete for Another less common factor in vi-
the finger tends to have a warmer' cash awards totaling 140,00 German brato is pressing the stiing to the fin-
richer quality. marks. The first prize winner will re- gerboard and releasing the pressure
Some students deveiop a good vi- ceive 50,000 marks, a C.D. Produc- without losing contact with the string.
brato simply by imitating the teacher' tion, and concert appearances in Ger' The base of the finger should not
yet others fall into bad habits because many and abroad. The first three
they do not observe the techniques rounds of competition will be held at Jerrie Lucktenberg, professor of uiolin at
involved. A student once had some the Hannover AcademY of Music and thelJniuersity of Southern Mississrppi, is
vibrato problems that were explained Theater Arts with the final round at a graduate of The Curtis Institute of Mu-
by the way he iearned to play with vi- the Lower Saxony Broadcasting Cen- sil and tlrc L/niuersities of lllinois and
brato. His high school orchestra di- ter of the North German Broadcast- South Carolina. In
1992 slrc receit'ed a
rector had simply told him to Put a ing Corporation in Hannover' A 30- citation for exceptional Leadersl'tip and
finger on the string and shake it. member international honors com- merit from the American StringTeachers
Many vibrato problems stem from mittee, including Claudio Abbado, Association. Her manual and companion
excessive tension. ln addressing these Daniel Barenboim' Yehudi Menuhin, videotaPe, The Joy of Shifting and
difficulties teachers should identify and Pinchas Zukerman, advises the Double Stops, are publish'edby tlrclJni-
'W
the sources of tension. The finger competition. u er sitl of isconsin-Madison.