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8

There are three different mechanisms at work in vibrato on the different instruments: On fretless instruments, you modulate the length of free string, i.e. basically by the same mechanism you also use to play different notes. Easy enough done by rolling the finger a little back and forth along the string (longitudinally). This technique is quite objectively ...


7

Vibrato is pretty easy to define because there is one widely agreed-upon definition: a deliberate, regular, periodic change in pitch (like a controlled warble), generally much less than a semitone, sometimes as much as a quarter-tone or more up and down. Vibrato is commonly used as a performance technique by vocalists (including opera singers), players of ...


7

Any time you change the length or the tension in a string, you'll change the pitch. The "wrong" method in the video involves releasing the contact point, letting the finger "float." This is grossly wrong whether or not you're trying to get a vibrato, since you lose an incredible amount of sonority and risk having high harmonics show up. There's no reason ...


7

I am a little confused by the collection of descriptions and comparison of "imitating professional guitar player...". When you say professional guitar player do you mean classical guitar player or electric guitar? Also, the classical guitar is acoustic so what you friend told is very confusing. So did you mean steel string acoustic as opposed to nylon ...


6

Vocal style I think the confusion here is that there are many different kinds of vibrato, with playing techniques that differ from instrument to instrument and a style and nature that relates both to the instrument and the style of music you are playing. In general, the "classical voice" has a wide unconstrained vibrato, while the "jazz/pop" voice has a ...


6

From a personal perspective, my vibrato started coming out after learning good breath support from the diaghram. If I kept my throat relaxed and held a note in a comfortable area of my voice range, the vibrato would kick in. It almost felt like hitting a sweet spot - a balance between diaghram control and vocal chord control. Once I could evoke it ...


5

To me, Vibrato is divided into 2 parts: Physical Phrasing PHYSICAL Beginners usually get shown techniques where the string is moved laterally across the strings or in the same direction as the strings. What I end up seeing is a student who is confused as to what their hand and finger(s) are actually meant to do to the string to produce the desired ...


5

Start by giving yourself the most advantage: Location on a string: Start with all your fingers fretting notes on the same string in the middle of the neck. The closer to the 12th fret you are, the more it is possible to move the note. String selection: Start with a string where you can get a good grip on the string (a wound string). I recommend the 4th ...


4

Long fingernails would present a problem to violinists, since they would interfere with the correct finger posture and prevent the finger-tip pressing the string to the finger-board, but these problems would show up even without vibrato. And your fingernails do not look too long. My advice would be to see a teacher and to just keep trying. Try slow ...


4

There is indeed! (at 1m46s) I don't believe they're widely manufactured though, not from what I could find


4

I think you're definitely magnifying the problem beyond it's perceptibility, vibrato is generally much too fast for the instantaneous difference to be heard at all. In fact, it's generally much easier to be in tune with vibrato than without. The natural fuzziness of a vibrated pitch generally makes it blend more pleasingly and there's nothing more difficult ...


4

Vibrato was and is known as two different techniques: Rou Xian and Yaxian. The below excerpt from Samuel Wong's erhu research explains the two techniques: 揉弦 Rou Xian (Vibrato) Vibratos can be effected by: i. Using finger pressure to suppress the string, increasing and decreasing its tension. This technique is also known as 压弦 yaxian and this is ...


4

Just to restate what was already said in previous comments: this technique should be called transversal vibrato. It is actually the standard technique on many fretted string instruments, in particular steelstring guitar. On fretless instruments, the preferred longitudinal vibrato is just the obvious way to go: it periodically alters the sounding length of ...


4

This is advice I give all musicians but it should come especially in handy for your particular problem. You must attempt to play with as little tension in your fingers as possible. Let gravity and mechanics do its job rather than your hand squeezing the string. I want you to pick up your violin and go into playing stance. Play an A on your G string like you ...


4

Think 'pivot' rather than 'shake'. Sort of. But get a violinist to show you. Words aren't a good way.


4

I'd be inclined to find a bit of plastic tubing - for aquarium use, or similar, that fits over the claws that hold the springs. Take springs off, add tubing, cut to length, replace springs. Ought to last a long time. Heat shrink would also do, but is much thinner.


4

On nylon strung classical guitars, the commonly used vibrato is like that on a violin, from bridge to nut, within a single fret. It varies the pitch very slightly, and also the tone of the note. The wider vibrato used on steel strung and electric guitars doesn't work too well. That vib actually changes the pitch more, by stretching the strings, laterally to ...


3

Practice. I know it's a dumb answer but this is one of several guitar techniques where you can seemingly try the same thing again and again with no result and then, presto! vibrato! The reason why is that you build hand strength and once you reach a certain point, you are able to blend your dexterity and strength to put a vibrato where you want it. Pick a ...


3

Well, I don't think the first claim is true. I didn't know how to do vibrato until I was 19. I'm 23 now and I'm still improving it. And I have a very low pitch voice. My dad learned how to do vibrato only in his 50s. But, I don't really know how I really learned it. I was experimenting with my voice one day, and it got easier the more I played with it. It's ...


3

Vibrato is more or less a natural phenomenon once you are singing with nice support and a relaxed larynx. It's absurd that you would have to learn it at some given age: it more or less comes with a well-tended voice at whatever age. Vibrato can be produced somewhat artificially by conscious breath and throat actions but that is rarely convincing and often ...


3

Tremolo is essentially a variation in volume, vibrato in pitch. They are nicely separated with bowed strings where "vibrato" is done by a variation in the fingering hand, and tremolo is done by a rapid back-and-forth of the bow on the same spot. However, lots of instruments have things they call "tremolo" or "vibrato". There is also the non-instrument ...


3

I found an excerpt from a chapter written by Johan Sundberg in The Psychology of Music, a compilation of articles, presumably all related to psychoacoustics. Here are some quotes and explanations: Although F0 [the fundamental frequency of the note] varies regularly in such tones, the pitch we perceive is perfectly constant as long as the rate and extent ...


3

In the era of extended techniques, nothing is truly impossible anymore. At the expense of a nice sound and precise pitch, you can change the pitch of the note you are playing by pressing a finger or a suitable object on the strings. Obviously, if you wiggle it around you get a sort of vibrato. There are quite some modern pieces that require altering the ...


3

Whether and how to use vibrato is a stylistic and personal question, and the most common answer for classical clarinet players seems to be just don't. Jazz players sometimes have doubled on sax and clarinet, and so brought their vibrato over from the sax. The most common technique for vibrato on the sax is to move the jaw up and down, using the same ...


2

Good question and an important one --rather than offering my own personal views I suggest that one start by listening widely to other players, and not only bassoon players. For example, the fluctuation in pitch that is so characteristic of vibrato on the cello or violin may not be as attractive on the bassoon ---listen to terrific players and start to form ...


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