Investigating the Fundementals of Vibrato By Cora Phillips
Vibrato in the simplest term is the alteration of pitch at such a high velocity by the finger that it is not readily noticed as a pitch change but rather as an effect. Milly B. Stanfield states that, “Vibrato to a string player is like a colour to a painter and in its relation to musical interpretation it often requires as much thought and care as the blending of tints and hues in oils and water colours.” It should be noted that there are many, many avenues of approach to the art of vibrato and no single “way” can be touted as the only way.
In the exploration of the fundamental building blocks of varying the shades of vibrato three interconnected motions come into focus; Angle of the elbow, Angle of the fingers and Height of the fingers. In the aspect of the physics of vibrato; arm weight, speed of the arm and the relationship of the thumb to the rest of the unit (arm, hand) are the key points of examination. Later once all these points have been made and investigated the two types of vibrato (Lateral, and Rotational) will be defined and then related in general terms to the three interconnected motions, and the physics of vibrato
Vibrato is not just the movement of the fingers, it is actually on the big picture the combined direct movement of the forearm, upper arm muscles coming from the back and the hand. Vibrato must begin in a very relaxed place in the back, it cannot be forced or the desired effect won’t be captured and only tension will thrive. Allowing the connection between the back and the upper arm to relax permits the forearm to create motion. It is interesting to note that angle of the elbow can create different types of vibrato colors if those effects are so desired. Once the forearm is in motion the momentum is simply transferred through the hand. The forearm, wrist, and hand should always be viewed as one unit. Even in thumb position the mechanics of the vibrato should not change.
In the fingers the number one problem of most cellists is sustaining the vibrato from finger to finger i.e. note to note. It should be noted that the fingers are made up of four joints (including those of the knuckles too) and there is flexibility in these joints both forwards and backwards, left to right and even in the finger pads. The height and curvature of each finger also aid the process of leading the vibrato from note to note. Exercises that help build this concept are the “The Pass-off”, where in a slow motion the teacher should demonstrate how (in vibrato) each finger passes off to the next using angle to connect each. Another exercise that can be used to strengthen this technique is the “Graduated Rhythms” this should be practiced with a current scale (student should be secure with intonation of the selected scale) and focus on changing the pitch of each note with the rhythm of eighths, triplets, quadruplets, sextuplets, etc. with four beats in each measure (one note gets four beats). This exercise will help tie in the main element of finger angle in “Pass-off” along with rhythm studies and intonation work with scales. (for more exercises see the posting "Exercises")
In vibrato the role of the thumb is often overlooked. Most students either (in the beginning stages) remove the thumb from the neck claiming it hinders the motion, or use pressure to keep it from moving. In either case the results can hinder the growth of the vibrato, the freedom of the fingers and the intonation. The job of the thumb is pretty simple it is merely to add balance and stability to the hand throughout the motion. Further explanation of this can be explained by making a correlation between the relationships of the thumb, finger of motion, and the rest of the hand (arm) to that of a simple machine, to be specific a lever.
There are six simple machines, and their purpose is to facilitate force in order to maximize the outcome (work). The lever encompasses three main parts which are load, effort, and the pivot point. It is important to note before any further exploration into this comparison, that one must not confuse the element of vibrato with that of loads, forces, and work. This is simply an idea, a spark rather that can help solidify the role of the thumb in vibrato, and how it can also help in the process of varying speeds.
It is important to note that there are three classes of levers, however only the first two are of interest to this theory, First Class Levers (FCL), and Second Class Levers (SCL). In FCL the pivot point lies at the point between the Load and the Effort. Load can be defined as the object that is being moved and Effort is the energy that is being applied to move the Load.
EX.1
A connection can be shaped between the finger of motion and the Load (lets say the first finger), and the arm (encompassing the hand) with the Effort. In the FCL the pivot point is fixed (doesn’t change) but the thumb does vary its position slightly depending on the finger of motion. The point of a pivot point in the FCL is to facilitate balance between the Effort, and the Load which move in opposite direction of each other.
In FCL the placement of the pivot point between the two points (Load, Effort) can vary the force, speed, and distance. In vibrato there is no distance to be made but the weight, and speed are elements that are utilized and the point at which the thumb makes contact (and the finger under which it lies) have a direct connection to the speed, and the ability to sustain the motion. This is because once the arm is in motion and the weight is centered in the thumb a natural ricochet occurs. The finger of motion also helps to center the weight, but it is important to note that it is the thumb that centers the finger of motion.
SCL are created when the pivot point lies behind Load and the Effort. In vibrato this can be compared to the vibrato in thumb position, in which the thumb is still the anchor to the hand, but it is no longer under it.
EX.2
Another example is when exploring new ways of using the vibrato in lower positions it is possible to place the thumb behind the first finger to create a different color. In either case of the FCL, or the SCL the pivot point (thumb) is the source of stability of the machine (vibrato) and without it the natural sustaining power would be lost.
It is important to develop freedom and suppleness in the thumb. “…all cramping of the thumb must be avoided. If pressure of the latter on the neck of the instrument is as light as it should be, the movement of the forearm will communicate itself and produce the same periodical oscillation as that of the free fingers.” (Alexanian, Diran. Traite Theorique et Pratique du Violoncello. Paris: Edition Salabert, 1980)
Once a student has mastered the general motion of the arm, wrist, and hand moving as one unit they may begin to notice that in certain areas on the finger board and in certain phrases the vibrato may not seem to work as well, and they may have to modify it slightly to achieve the desired effect. It is at this point that an introduction into the two types of vibrato should be explored and practiced.
Lateral vibrato is a motion that benefits from the weight lying behind the finger of motion, and it is this forward moving weight that propels the fingers to move. Another aspect in Lateral vibrato is the motion of the arm. The arm (forearm) moves forward and only returns back to its starting place by momentum. It is this forward motion of the arm that compels the hand to move also but it is a delayed motion in relation to the forearm.
A connection can be drawn between the SCL discussed earlier, although the pivot point is not always behind the hand. On the smallest level the fingers in Lateral vibrato are utilizing the flexibility of the joints in the fingers between the Distal and Middle bones and the Middle and Proximal bones. It is this flexibility that is coupled with the forward moving arm that gives this particular vibrato its personality. The hand is actually moving sideways and it works best when in the restrictive area of the neck. Whenever the need calls it is possible to either speed up the vibrato gradually or slow it down (it is much easier to control speed with lateral vibrato). Some useful exercises are “Throwing the Hand”, in which the student throws the hand so that a feeling of shaking dice is felt. The student should be encouraged to try different rhythms, and actually continue the motion for an extend count (4/4). “Knocking on the Door”, the same idea as “Throwing the Hand” but using more force in the forearm. A good practice of the hand motion of Lateral vibrato would be trying it out on the shoulder of the cello on each finger in order to work up the muscle memory.
Rotational vibrato is when the general hand (arm) motion rotates like that of turning a door knob (often called the “door knob” vibrato). Instead of the forward motion like that of Lateral vibrato Rotational uses this right/left turning in the forearm to give it its sound. A connection can also made between Rotational vibrato and that of the FCL. The pivot point is typically centered between the finger of motion and the rest of the hand. Flexibility in the small joints of the fingers is not as crucial to Rotational vibrato as it to Lateral vibrato however the curved shape of the fingers and thumb is very important. The reasoning for this is the curved shape lends strength to the finger (like that of an arch) so that it won’t collapse under the weight of the arm (finger strength is also important here too).
It is important to note to students that Rotational vibrato is often best used for short bursts of vibrato, maybe on a note with accents, or on a held note in a quick tempo. The reasoning behind this is that the energy that is being used to initiate the motion has to be utilized in two directions, forward (sharp) and backwards (flat). In Lateral vibrato the motion is forward and the weight is centered behind the finger of motion there by giving it the sustaining force of the ricochet. In Rotational there is no natural ricochet so the energy expended forward, must also be expended backwards too.
Exercises that will help grasp the motion of Rotational vibrato are “The Door Knob” in which the forearm (wrist, and hand) twist from left to right as if twisting a door knob. This exercise can be used away from the cello, and also on the cello.
Generally when one sets out to teach vibrato they realize that they can’t just tell the student to shake their arm and expect the concept to be understood. Typically students (especially beginners) have already decided in their minds what vibrato is and it is at this point that the bad habits begin. In order to quell these bad habits teachers must be able to explain the motion in everyday terms, and draw correlations with activities that are generally understood for example like bouncing a ball. Once the student can relate the actions of everyday life back to the cello it will help ease the student into better vibrato awareness. Using the “Bouncing Imaginary Ball”, Door Knob”, “Throwing the Hand”, and “Pounding the Door” exercises builds from that knowledge of everyday actions and helps the pupil relate to the motion of vibrato.
Usually when a child begins wiggling their fingers, or develops a spontaneous spasm in their left arm they are trying to make their teacher aware that they know what vibrato is and they want to be able to do it. It is at this crucial moment that the teacher must select a path of explanation and a progressive curriculum so that the student is not left confused with a mass of information. With the motion exercises the teacher is conveying to the student the feel of vibrato, where the motion originates and how to sustain it. This should be the first phase and it should be a silent one either away from the cello or on the finger board. In phase one the teacher should ask the student to be aware of the parts of the arm that are moving and how the hand responds to this motion.
Phase two should begin with graduated rhythms at a set tempo with scales to really help track the progress. Students may find this level quite dull at times so in order to give them a periodic push in the lessons step up the tempo to a level where the rhythms are really difficult to do and the vibrato just happens naturally. This will give the student that boost of confidence and keep them going strong with the exercise. During phase two, the three interconnected vibrato motions should be discussed (angle of elbow, angle of fingers, and height of fingers) along with the two types of vibrato. It is important to stress the importance of making the pupil aware of these concepts rather than overwhelming them with too much knowledge. This can all be gauged by how quickly they (student) pick up the other concepts of vibrato.
Lastly in phase three, the student should be able to vary the speed, weight and develop the knowledge of how vibrato can be used to shape phrase, imply motion, and create neat effects. This last phase should be implemented in the current repertoire of the student. The teacher should stress the importance to the student that vibrato is not something you use all the time and in the same way. It is a texture that should be consciously used in an appropriate manner.
Christopher Bunting in his Essay on the Craft of ‘Cello-Playing writes, “…what vibrato should not be. It should not be an all-purpose varnish laid on thickly over a bad painting to conceal it defects.” It is in this manner that many are confused about the art of vibrato. It should be used only when necessary, when the music calls for it, and never the same way twice. It should not be a mechanical motion but should inspire freedom in the music making and the enhancement of the senses. With a clear and direct curriculum of study vibrato can be approached and understood by even the youngest players.
Bibliography
Alexanian, Diran. Traite Theorique et Pratique du Violoncello. Paris: Edition Salabert, 1980
Bones of the Hand
Bunting, Christopher. Essay on the Craft of Cello Playing, The Left Hand. New York, New York: Cambridge University Press, 1982
Eisenberg, Maurice. Cello Playing of Today. London: The Strad, 1957
Horsafall, Jean. Teaching cello to Groups. London: Oxford University Press, 1974
Simple Machines, Work, Force and Energy.
Stanfield, Milly B. The Intermediate Cellist. London: Oxford University Press, 1973
In the exploration of the fundamental building blocks of varying the shades of vibrato three interconnected motions come into focus; Angle of the elbow, Angle of the fingers and Height of the fingers. In the aspect of the physics of vibrato; arm weight, speed of the arm and the relationship of the thumb to the rest of the unit (arm, hand) are the key points of examination. Later once all these points have been made and investigated the two types of vibrato (Lateral, and Rotational) will be defined and then related in general terms to the three interconnected motions, and the physics of vibrato
Vibrato is not just the movement of the fingers, it is actually on the big picture the combined direct movement of the forearm, upper arm muscles coming from the back and the hand. Vibrato must begin in a very relaxed place in the back, it cannot be forced or the desired effect won’t be captured and only tension will thrive. Allowing the connection between the back and the upper arm to relax permits the forearm to create motion. It is interesting to note that angle of the elbow can create different types of vibrato colors if those effects are so desired. Once the forearm is in motion the momentum is simply transferred through the hand. The forearm, wrist, and hand should always be viewed as one unit. Even in thumb position the mechanics of the vibrato should not change.
In the fingers the number one problem of most cellists is sustaining the vibrato from finger to finger i.e. note to note. It should be noted that the fingers are made up of four joints (including those of the knuckles too) and there is flexibility in these joints both forwards and backwards, left to right and even in the finger pads. The height and curvature of each finger also aid the process of leading the vibrato from note to note. Exercises that help build this concept are the “The Pass-off”, where in a slow motion the teacher should demonstrate how (in vibrato) each finger passes off to the next using angle to connect each. Another exercise that can be used to strengthen this technique is the “Graduated Rhythms” this should be practiced with a current scale (student should be secure with intonation of the selected scale) and focus on changing the pitch of each note with the rhythm of eighths, triplets, quadruplets, sextuplets, etc. with four beats in each measure (one note gets four beats). This exercise will help tie in the main element of finger angle in “Pass-off” along with rhythm studies and intonation work with scales. (for more exercises see the posting "Exercises")
In vibrato the role of the thumb is often overlooked. Most students either (in the beginning stages) remove the thumb from the neck claiming it hinders the motion, or use pressure to keep it from moving. In either case the results can hinder the growth of the vibrato, the freedom of the fingers and the intonation. The job of the thumb is pretty simple it is merely to add balance and stability to the hand throughout the motion. Further explanation of this can be explained by making a correlation between the relationships of the thumb, finger of motion, and the rest of the hand (arm) to that of a simple machine, to be specific a lever.
There are six simple machines, and their purpose is to facilitate force in order to maximize the outcome (work). The lever encompasses three main parts which are load, effort, and the pivot point. It is important to note before any further exploration into this comparison, that one must not confuse the element of vibrato with that of loads, forces, and work. This is simply an idea, a spark rather that can help solidify the role of the thumb in vibrato, and how it can also help in the process of varying speeds.
It is important to note that there are three classes of levers, however only the first two are of interest to this theory, First Class Levers (FCL), and Second Class Levers (SCL). In FCL the pivot point lies at the point between the Load and the Effort. Load can be defined as the object that is being moved and Effort is the energy that is being applied to move the Load.
EX.1
A connection can be shaped between the finger of motion and the Load (lets say the first finger), and the arm (encompassing the hand) with the Effort. In the FCL the pivot point is fixed (doesn’t change) but the thumb does vary its position slightly depending on the finger of motion. The point of a pivot point in the FCL is to facilitate balance between the Effort, and the Load which move in opposite direction of each other.
In FCL the placement of the pivot point between the two points (Load, Effort) can vary the force, speed, and distance. In vibrato there is no distance to be made but the weight, and speed are elements that are utilized and the point at which the thumb makes contact (and the finger under which it lies) have a direct connection to the speed, and the ability to sustain the motion. This is because once the arm is in motion and the weight is centered in the thumb a natural ricochet occurs. The finger of motion also helps to center the weight, but it is important to note that it is the thumb that centers the finger of motion.
SCL are created when the pivot point lies behind Load and the Effort. In vibrato this can be compared to the vibrato in thumb position, in which the thumb is still the anchor to the hand, but it is no longer under it.
EX.2
Another example is when exploring new ways of using the vibrato in lower positions it is possible to place the thumb behind the first finger to create a different color. In either case of the FCL, or the SCL the pivot point (thumb) is the source of stability of the machine (vibrato) and without it the natural sustaining power would be lost.
It is important to develop freedom and suppleness in the thumb. “…all cramping of the thumb must be avoided. If pressure of the latter on the neck of the instrument is as light as it should be, the movement of the forearm will communicate itself and produce the same periodical oscillation as that of the free fingers.” (Alexanian, Diran. Traite Theorique et Pratique du Violoncello. Paris: Edition Salabert, 1980)
Once a student has mastered the general motion of the arm, wrist, and hand moving as one unit they may begin to notice that in certain areas on the finger board and in certain phrases the vibrato may not seem to work as well, and they may have to modify it slightly to achieve the desired effect. It is at this point that an introduction into the two types of vibrato should be explored and practiced.
Lateral vibrato is a motion that benefits from the weight lying behind the finger of motion, and it is this forward moving weight that propels the fingers to move. Another aspect in Lateral vibrato is the motion of the arm. The arm (forearm) moves forward and only returns back to its starting place by momentum. It is this forward motion of the arm that compels the hand to move also but it is a delayed motion in relation to the forearm.
A connection can be drawn between the SCL discussed earlier, although the pivot point is not always behind the hand. On the smallest level the fingers in Lateral vibrato are utilizing the flexibility of the joints in the fingers between the Distal and Middle bones and the Middle and Proximal bones. It is this flexibility that is coupled with the forward moving arm that gives this particular vibrato its personality. The hand is actually moving sideways and it works best when in the restrictive area of the neck. Whenever the need calls it is possible to either speed up the vibrato gradually or slow it down (it is much easier to control speed with lateral vibrato). Some useful exercises are “Throwing the Hand”, in which the student throws the hand so that a feeling of shaking dice is felt. The student should be encouraged to try different rhythms, and actually continue the motion for an extend count (4/4). “Knocking on the Door”, the same idea as “Throwing the Hand” but using more force in the forearm. A good practice of the hand motion of Lateral vibrato would be trying it out on the shoulder of the cello on each finger in order to work up the muscle memory.
Rotational vibrato is when the general hand (arm) motion rotates like that of turning a door knob (often called the “door knob” vibrato). Instead of the forward motion like that of Lateral vibrato Rotational uses this right/left turning in the forearm to give it its sound. A connection can also made between Rotational vibrato and that of the FCL. The pivot point is typically centered between the finger of motion and the rest of the hand. Flexibility in the small joints of the fingers is not as crucial to Rotational vibrato as it to Lateral vibrato however the curved shape of the fingers and thumb is very important. The reasoning for this is the curved shape lends strength to the finger (like that of an arch) so that it won’t collapse under the weight of the arm (finger strength is also important here too).
It is important to note to students that Rotational vibrato is often best used for short bursts of vibrato, maybe on a note with accents, or on a held note in a quick tempo. The reasoning behind this is that the energy that is being used to initiate the motion has to be utilized in two directions, forward (sharp) and backwards (flat). In Lateral vibrato the motion is forward and the weight is centered behind the finger of motion there by giving it the sustaining force of the ricochet. In Rotational there is no natural ricochet so the energy expended forward, must also be expended backwards too.
Exercises that will help grasp the motion of Rotational vibrato are “The Door Knob” in which the forearm (wrist, and hand) twist from left to right as if twisting a door knob. This exercise can be used away from the cello, and also on the cello.
Generally when one sets out to teach vibrato they realize that they can’t just tell the student to shake their arm and expect the concept to be understood. Typically students (especially beginners) have already decided in their minds what vibrato is and it is at this point that the bad habits begin. In order to quell these bad habits teachers must be able to explain the motion in everyday terms, and draw correlations with activities that are generally understood for example like bouncing a ball. Once the student can relate the actions of everyday life back to the cello it will help ease the student into better vibrato awareness. Using the “Bouncing Imaginary Ball”, Door Knob”, “Throwing the Hand”, and “Pounding the Door” exercises builds from that knowledge of everyday actions and helps the pupil relate to the motion of vibrato.
Usually when a child begins wiggling their fingers, or develops a spontaneous spasm in their left arm they are trying to make their teacher aware that they know what vibrato is and they want to be able to do it. It is at this crucial moment that the teacher must select a path of explanation and a progressive curriculum so that the student is not left confused with a mass of information. With the motion exercises the teacher is conveying to the student the feel of vibrato, where the motion originates and how to sustain it. This should be the first phase and it should be a silent one either away from the cello or on the finger board. In phase one the teacher should ask the student to be aware of the parts of the arm that are moving and how the hand responds to this motion.
Phase two should begin with graduated rhythms at a set tempo with scales to really help track the progress. Students may find this level quite dull at times so in order to give them a periodic push in the lessons step up the tempo to a level where the rhythms are really difficult to do and the vibrato just happens naturally. This will give the student that boost of confidence and keep them going strong with the exercise. During phase two, the three interconnected vibrato motions should be discussed (angle of elbow, angle of fingers, and height of fingers) along with the two types of vibrato. It is important to stress the importance of making the pupil aware of these concepts rather than overwhelming them with too much knowledge. This can all be gauged by how quickly they (student) pick up the other concepts of vibrato.
Lastly in phase three, the student should be able to vary the speed, weight and develop the knowledge of how vibrato can be used to shape phrase, imply motion, and create neat effects. This last phase should be implemented in the current repertoire of the student. The teacher should stress the importance to the student that vibrato is not something you use all the time and in the same way. It is a texture that should be consciously used in an appropriate manner.
Christopher Bunting in his Essay on the Craft of ‘Cello-Playing writes, “…what vibrato should not be. It should not be an all-purpose varnish laid on thickly over a bad painting to conceal it defects.” It is in this manner that many are confused about the art of vibrato. It should be used only when necessary, when the music calls for it, and never the same way twice. It should not be a mechanical motion but should inspire freedom in the music making and the enhancement of the senses. With a clear and direct curriculum of study vibrato can be approached and understood by even the youngest players.
Bibliography
Alexanian, Diran. Traite Theorique et Pratique du Violoncello. Paris: Edition Salabert, 1980
Bones of the Hand
Bunting, Christopher. Essay on the Craft of Cello Playing, The Left Hand. New York, New York: Cambridge University Press, 1982
Eisenberg, Maurice. Cello Playing of Today. London: The Strad, 1957
Horsafall, Jean. Teaching cello to Groups. London: Oxford University Press, 1974
Simple Machines, Work, Force and Energy.
Stanfield, Milly B. The Intermediate Cellist. London: Oxford University Press, 1973
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