7 Concert Violinists Teach Vibrato
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So what I learned today was a) use the arm and not the wrist, b) use the wrist and not the arm, c) let a feeling of relaxation "spread out from the middle of your palm", and d) none of these guys know what the hell they're talking about, but they can play pretty good.
d😂
Lollllll love it
So let's go to baroque!
legend says hes still moving his arm to a metronome
No matter how you do it, do it in a manner that causes no tension in your hand/arm/fingers that you can control. Every body is different. The method is also influenced by not only your body, but the instrument you play as well (violin, viola, cello, bass). For me, it took decades to realize that I needed a flatter hand by the neck of my viola with the action starting from palm at the base of my fingers, not the wrist, arm, etc…. But that’s just me.
I agree, my vibrato got better by understanding and mimicking others vibrato to find out what works for me.
Haha years of study with my old professor and she tells me off hand the way I did vibrato wasn’t how she’d do it, but it worked for me, and she didn’t think it needed to be her way.
Thank you for having the humility to say that it is just your way . Different strokes for different folks .
Some of these critics don't believe in the song " I did it my way " . I would think the best way would be the way that works best for the individual .
@@tommurphree5630 no fim eu penso que sempre foi assim e sobre isso, individualidade, autenticidade
Step 1. Find a guy who says 6:16 In General, I don't use wrist vibrato, then imitates his version of a bad-sounding wrist vibrato. (Brilliant guy, eh... cut to 6:32 same dude using absolutely zero arm vibrato, wrist completely against the fiddle, sounds fantastic.) Step 2. Create a thumbnail to outrage tons of violinists, which says Never use wrist vibrato! Despite the entire content of the otherwise interesting video, including some really fantastic and thoughtful violinists and teachers. Well, I guess the plan worked. Bravo, Tonebase. Real integrity.
Oh my gosh.. that's hilarious! Didn't even notice they're the same guy 🤣
I’m not sure if the comedy was intended but the editing is fantastic 😂
Arm versus wrist, nothing matters unless the finger joints are free to move and the thumb is relaxed, I think they would all at least agree on that. 😂
In my experience of teaching for over 30 years, I have students who develop both BEAUTIFULLY! Itzhak Perlman uses wrist vibrato! Maybe it's important to practice both for color and intensity variations, but also we each tend to gravitate naturally toward one or the other and both are valid and beautiful!
What on earth is Adam saying? There’s loads of people who make a beautiful sound with wrist vibrato! What a naive thing to say!
I had a phase where some teachers told me to learn arm vibrato and quit the wrist vibrato which I always had. Then I went to a lesson with an old Italian master who simply told me “Oistrakh had wrist vibrato, do you see any problem with it?”
Ikr. As someone who uses wrist vibrato myself, I was quite surprised to hear him say that.
I don’t get it either. The arm can’t nearly vibrate as quickly as the wrist without the tone quality deteriorating.
Naive??? You may disagree- it’s your absolute right in a democratic country. To call “naive” a Holocaust survivor, who just passed 75th Anniversary from his first concert with an orchestra and is still concertizing, who lived in 7 countries on 3 continents, speaks eight languages and had studied with the greatest of the great including Partos, Vègh, Galamian, Gingold, Piatigorsky, Primrose and 4 years of ten hours a week in the same room with Jascha Heifetz (not counting the summer semester it when only Primrose was teaching) makes about 1,600 hours with the “God”. A man, who has concertized as a soloist, conductor and was concertmaster of major orchestras in the US, Mexico and Europe -(Vienna Radio and TV S.O.) requires NO COMMENT to your remark… Adam Han-Gorski (myrnaadam is our TH-cam account).
Never losing the frame of the hand where intonation can suffer as a result. Dont think wrist, arm, finger etc. Think IMPULSE which should come naturally and never be forced and over done like too much syrup and sentimentality. This is what Heifetz did.
I am entertained by the lively discussions here. It is always amusing to hear people who are in one strict camp, wrist, or arm; finger tip or padding; vibrating down or up; vibrating below the pitch or around the pitch... I am of the opinion(based on my own 30+years of experience playing and teaching) that some of these positions seem to be the result of a misunderstanding or mistaken analysis of what is actually happening. I most likely cannot contribute much to this conversation. However, I will say that a functional vibrato in all cases should achieve: 1. your ideal sound, 2. flexibility for a variety of expressive options, and 3. mechanical efficiency(both for immediate fluid functionality, stamina, and injury prevention).
One of the most sensible comments on this topic. 😬🙏🏼🏆
There is a book (in German) by W.D.Eulitz ("kinematic der violintechniken"), that takes a pretty deep view on Vibrato.
I don't know if it got translated but it could be worth reading, because it combines practical experience with anatomical knowledge.
I use what works. No premeditated algorithm. Just what comes out naturally after becoming one with the instrument.
Well said my friend!
Baloney, i see a lot of concert artists using wrist vibrato. Personally, i think its a good idea to have both in your tool chest. It really depends more on whether you have a naturally flexible wrist. If you have a stiffish wrist then go with arm vibrato.
Agreed. These prescriptive "never use" pronouncements are so ridiculously dogmatic and fly in the face of a large number of great players who use wrist vibrato, I suppose the best examples being David Oistrakh and at times Perlman, Menuhin and many others. Also the thumb position vaires enormously between many outstanding players. There is no defiinitve way.
@@fingerhorn4 that text on the thumbnail is clickbaiting. very disappointing. lost a little bit of respect for every artist shown in the video
It's just clickbait.
I think the type of music will determine the type of vibrato. Personally I use an arm vibrato but occasionally use a combination especially for intense romantic music. On the other hand for baroque I tend to use very little.
Well! I never knew... I had always considered vibrato as a naturally occurring thing that is personal to the player.
I didn't know there was so much technique involved. But my perspective comes from the guitar and wind Instruments.
Thanks, this really is an interesting and informative video. I've learnt something today.
I wish it came naturally. 😅
Oh no, it’s definitely not naturally occurring whatsoever. Violin vibrato is highly technical and takes years and years of training, and we continue to work on it every day…forever
Unfortunately, it does not come naturally. It takes a lot of practice.😔
It was natural occurring to me what 😥😥😥😭
@@kristintripp967 Vor längerer Zeit habe ich mit einem Schüler Vibrato angefangen, dann sind wir wegen anderen Aufgaben davon abgekommen. Eines Tages fragte er mich ob er Vibrato machen kann. Welch eine Frage! Und es sah sehr gut aus. Nachdem ich ihn gefragt habe, wie es denn kommt, sagte er, er hätte im Ensemble einfach mitgemacht. Und es war locker und sah sehr gut aus.
Andere lernen es mit einem Stock bei einem Waldspaziergang.
Manche Schüler brauchen eine genaue, schrittweise Anleitung, manche lernen es sehr schnell.
Wichtig ist, das man auch als Lehrer immer neugierig und offen bleibt und tausend Tricks kennt.
I think the only point that everyone agrees on is that the hand/wrist should be loose
I started with finger, practice arm occasionally, use mostly wrist and finger except on strong notes when some arm is used. But physically arm is just not for me, so like other people wrote here, wrist vibrato is just as good as arm. These greats had varied widths, think of Heifetz's narrow vibrato and Oistrakh's wide vibrato. I wrote an essay on it in my conservarory days😊I also sing classically, and naturally my voice vibrato was always like my violin vibrato.
Wrist vibrato is the most common in Europe teaching method .I studied I. Greece and Albania and both have teaching of wrist vibrato and I love it
I only watched the first few minutes - I plan to watch the rest later. Interesting how the first few violinists you showed were all using wrist vibrato. It is my opinion that violinists should know both, but use whatever they want. It is an art.
as a cellist I can tell you that violinists can't master both vibrato method sometimes simply cut they cannot.
Some violinist just cannot do vibrato in some way and can only do vibrato in a specific way
Excellent research, superb teaching... as usual 😊
Very nicely done, and I think most of the masters agree to a certain extent...but they also have individual preferences based on how they learned and how they like to play in a relaxed fashion. One of my favorite instructors said, you will know it when you get it and yours will be different in a very personal way. Nice work with great information !
NEVER USE WRIST VIBRATO.
IDA HAENDEL: proceeds to play with wrist vibratos sounding absolutely greatest. ❤
Not only that, the clip here included of Adams own playing shows he clearly used his wrist in vibrato at least in his younger years, and it sounds fine. (Pearlman, predominantly wrist, etc)
2 parents string players never taught me this. Always thought had a defective wrist. Both in love with them selves.
I like the metronome technique.
I needed this.
Ótimas esplicações
Old school 20th violin playing used vibrato to excess(too strained, every note) and now we have modern players who almost completely abandon it.(period performance)
Vibrato to me is a flourish, an ornament of string playing that needs to be used apropriately and varied within context.
The best modern players have found a middle ground between period performance and the 20th schmaltz.
But this view overlooks the fact that vibrato improves tone and projection and stimulates the vibrating modes of the instrument. This is why, on the soloist level, it developed as it did. It would be very foolish to think it simple developed out of the Auer school as a way to be schmoltzy....
I wouldn’t say a vibrato like that of Oistrakh is “too strained”. Perhaps it’s used to excess for some, more modern tastes. The same with Szeryng, I love the sound he makes, so much emotion in the vibrato. I find it difficult to recognise the sounds of many modern players even though there are some phenomenal players out there, whereas it is a bit easier with the 20thC greats. Using the word schmaltzy to describe their sounds does them a bit of a disservice. Just my opinion though!
@@PaperGrape "Stimulates the vibrating modes of the instrument?" I don't see how. The "vibrating modes of the instrument" are fully stimulated by playing a vibrato-less note; the idea that introducing vibrato adds some additional "vibrational modes" seems a tad mystical to me, rather than an observation based on physics. "Improves tone?" OK, but that begs the question. It "improves" the tone if you like the sound of vibrato; it's like saying that a chorus pedal "improves" the tone of a guitar. "Improves projection"? Maybe there is a point there, in the sense that it helps a soloist to differentiate his tone and "cut through" the sound of other string players (e.g. when soloing with an orchestra). But soloing with an orchestra is a special case, and even then, it's debatable whether you "need" vibrato to project your tone. If you listen to Nigel Kennedy playing the Sibelius concerto, there are places where he uses very little vibrato.
I would point to that Kennedy recording as a great example of someone who uses vibrato thoughtfully and for expressive effect-- everything about his vibrato (attack, width, speed) is done with expressive intention. (In contrast, Heifetz's recording of the same concerto strikes me as flat and inexpressive-- the performance of someone who vibrates all the time simply because he knows how to vibrate. I'm exaggerating, but only slightly). In the world of folk music, I would point to someone like Alisdair Fraser, who can use a very elegant "classical" vibrato when he wants to, but is also capable of playing an entire piece vibrato-free when it serves the music.
@eccles99 stimulates, not "adds some additional". I suppose you also don't think that synthetic-core strings don't stimulate the instrument more than gut, right? Nor does the instrument being well and properly set up? So long as there a string on the instrument and it makes a sound, it must be vibrating optimally .....
@@eccles99 : by rapidly changing the frequency more vibration modes of the table and the back are being stimulated than if one would keep a stable unique frequency. The result is more averaged volume. Add to that that the repeated and short moments of "over pitch" create cutting power through other instruments/orchestra. That is indeed one of the reasons for the development of vibrato over the last 2 centuries, and it is not a coincidence that it parallels the ever increase of sound volume of all music instruments and of the size of concert venues.
Now of course its use remains entirely up to the violinist's taste. But don't use recordings to judge the correlation between perceived sound projection and vibrato.
I'm glad to see Tobiah Murphy on this channel, good work!
Meh
@@M_SCyour comment added nothing congratulations 🎉🎉🎉.
प्रणाम गुरूजी 🌹🌹🌹🙇♂️🌹🌹🌹
भारतीयांकडून प्रेम 🇮🇳🎼🎶🎵
I like how tbe video shows various old teachers emphatically stating vibrato should be all arm or all wrist, then immediately showing some famous master violinist using the opposite exact opposite method. The truth is if you practice enough, either method will work well enough - evidenced by how various masters use either one or both.
I honestly thought that this was a video roasting Tonebase until I realised that they themselves published it!
Great info video, in tunning EADG in violin can we play all keys by this tunning or need to shufffle tunning ??????
so which one is correct to use or not to use write for vibrato?
Very based tonebase video for mentioning Sandor Vegh
Yes, major points on that one :)
Take your favorite soloist and watch some videos. They all vibrate as follows:
1. The finger rolls back and returns to normal at the first knuckle. It is critical that this motion be in line with the string, not rocking from side to side across the direction of the string (which means the hand is rotating, not rocking back and forth). 2. The back and forth motion of the first knuckle is facilitated by a rocking motion at the wrist (this is the exercise to use when teaching a student to begin to vibrate, taking extreme care that the first joint pivots in line with the string and the backward impulse comes from the wrist). 3. At times the implulse to move the hand back and forth can be taken over by the arm pivoting at the elbow and the wrist becomes locked. If this becomes permanent, meaning the wrist impulse is never used, the vibrato technique loses vital physical and musical flexibility and can result in unwanted tension. 4. So-called finger vibrato is created by shifting the rocking motion from the first knuckle to the second knuckle. This vibrato, such as it is, is a disaster. (An even worse disaster, which I have actually seen, is when the finger playing the note becomes still and an upper finger moves up and down in the air. In this version, the vibrato is imaginary). No matter how much wrist or arm vibrato is used at a given moment, the critical motion is the back and forth movement of the finger at the first knuckle in line with the string. (You can slow down Heifetz videos and see how his first knuckles always remain incredibly flexible. It's quite amazing considering the velocity of his vibrato at its most intense moments).
I disagree that the finger (or impulse) vibrato is "a disaster". I think that Fritz Kreisler would disagree too, as this is what he used, as confirmed by Roth and others. I learned it from Stephen Redrobe's DVD. He was Erick Friedman's assistant, and Friedman learned it directly from Heifetz and Milstein. Amongst modern players, it is used at times by Perlman, amongst others. But it takes an experienced eye to spot it, because the wrist and arm can move passively in a way that looks similar to the active movement of the conventional vibrato.
@@tullochgorum6323 Finger vibrato, for purposes of this discussion, is defined as follows. Fulcrum function at the elbow (arm vibrato) and the wrist (wrist vibrato) are eliminated. The impulse to move the finger joints comes from the palm. The direction of motion of the fingertip is now diagonal to the string and the range of motion is greatly reduced. Without knowing exactly what your references are describing, I can assure you that neither Heifetz nor Milstein used a finger vibrato as I have described it. Their first knuckles maintain total flexibility to rock the fingertip in line with the string, which is not possible in finger vibrato by my definition. Here are two outstanding examples. Play them at half speed and you will see vibrato perfection. There is no sign of an isolated finger vibrato.
th-cam.com/video/LRUPV2M9pMk/w-d-xo.html
th-cam.com/video/uSC4W1qWMp4/w-d-xo.html
@@palladin331 I didn't say that Heifetz or Milstein used it - at least not often. It had fallen out of fashion by then. But it was widely used by the generation that taught them, and they passed it on to Friedman. So the version I learned came through a reliable lineage.
The impulse comes from the palm and the finger, but that doesn't mean there isn't a good deal of passive reaction in the wrist and even the arm, so it can be quite difficult to detect when it's being used.
There is a lot of mystical talk about it, but so far as I can see it's basically just a very narrow vibrato that gives a shimmering effect that I like very much - particularly for Baroque music but also for Classical and even Romantic. I simply love the restrained Kreisler sound, and find many modern players too florid for my tastes.
@@tullochgorum6323 Sorry, but none of the violinists you mentioned used a 'finger' vibrato. From Kreisler to Kramer, from Milstein to Mintz, they all utilized a warm sensitive vibrato exactly as I have described. Your source is mistaken.
@@palladin331 Well, on the one side there is some random dogmatic bloke on TH-cam.
And on the other there is the report of Henry Roth, who actively researched the subject with people who knew Kreisler.
And there is the report of Friedman, who was a senior student of Heifetz, who was a direct student of Kreisler.
And there are multiple contemporary accounts of the use of the impulse/finger vibrato during the bel canto period, including a technical description by Flesch.
And then we can actually use our ears - it's perfectly clear that many violinists of the time such as Ysaye and Kreisler are clearly not using the broad romantic vibrato that is fashionable today. Personally I love their relaxed and understated style.
And finally, the impulse vibrato is part of the arsenal of many more modern artists. Menuhin wrote explicitly about his use of the technique, and it's known that both Zuckerman and Perlman also use it on occasion.
If you open your mind and your ears, you'll find that there's more than the single technique you describe. That's why the violin is such a wonderful instrument - there is scope for a wide range of styles and interpretations.
I’m not sure what technique of vibrato I use but people like my playing and that’s all that matters to me.
Wow! Now I'm really confused! Is it the wrist? Is it the arm? Is it both? You know what I think? It's all a matter of choice. Your choice!
The most important of vibrato is the downward movement. the lowering of the pitch. It is strange, but when the vibrato is higher than the pitch, the effect is a higher pitch. On the opposite, lowering the pitch and going back to the right pitch don’t result in the impression of a lower intonation. It results in an emotional feeling. I think the explanation is psychologic: the feeling of going up is more attractive than going downwards. So, every time the pitch is lowered, a listener automatically feels the promise of a rising tone, back to the actual pitch. When this lowering and restoring of the pitch happens in a fast, wavelike motion, there is very quick change between discomfort and relaxation which recalls in the brain of the listener emotional moments, often a situation between hope and fear. I don’t know if this is correct and probably it isn’t. But for me, as a violinist, this image is helpfull in technical aspects: the downward movement requires activity, the back to the pitch is a relaxed movement. It’s like pushing a tumbler and let going back to the original position.
From what I hear it's basically "make it beautiful and vary it up". Because some only use arm and others say you should only use wrist. My favourite violinist Augustin Hadelich does both. So what the hell should I do. Just keep practicing and getting comfy doing either I suppose?
Use primarily whichever is more comfortable and, as Ray Chen says in a vibrato video of his, 'use the other to fill in the gaps'
He is my favorite too. But if you watch very closely Augustin uses mostly arm vibrato. Yes he does incorporates wrist movement too especially when he plays expressive pieces. His arm vibrato dominates.
@@moooobkityy I know. His vibrato is amazing!
@@koopalovetoast2409 it's unbelievable 💕
The most difficult thing is to master and control all types of vibrato: arm, wrist and finger vibrato (which nobody mentioned here yet, I believe). I love arm vibrato, but use mostly wrist and finger vibrato. With only one type of vibrato your expressive abilities will only go up to a certain level. For more you‘ll need more variations of vibrato, and in that Augustin Hadelich is really great. I believe he’s one of the very best violinists living today.
Fantastic video, and truly a good advertisement for the services offered.
I think people who think they are only using arm vibrato fail to realize that if the wrist is tight, so are the fingers. The vehicle of vibrato definitely is the wrist. The arm can aid. Kind of like a good back seat driver.... but if you simply do it in the air, making that motion with the arm causes all kinds of tension. Generally speaking, tension is undesirable. But the arm really can assist the vibrato nicely.
To some extent you are always using both. The arm muscles to solidify the wrist's plane of movement, the wrist to keep the fingers relaxed and at the right angle.
Excellent teaching! There is always something new to learn!
They are bad violinists pretending they are Heifetz
Excellent, interesting and informative compilation on vibrato!
My teacher violin is so weird , my teacher emphasized me to not mind it, and learn more songs. whereas the vibrato adds to the usual awesomeness for me.
Murphy is a great teacher
setuju
Honestly of all of the great teachers, I’m considering joining bc of him.
Apologies for being long in the tooth about this.
What often gets forgotten or misunderstood is that the vibrato is an ornament that enhances the musical idea. If you don't know what you want to do with the phrase- what the direction of the musical line is, the vibrato becomes merely a utilitarian device.
It was understood in different ways over the centuries- thought of by some as a kind of shaking palsy that interfered with and disrupted the music, by others as something used sparingly, and by others as essential and to be used as often as possible regardless of the period/style of music being played
Like your heart beat and breathing, and the natural "rhythms" of your body, it can be a natural part of your playing, but I think it is necessary to consciously choose to change its speed or amplitude, and not left to chance, because the vibrato needs to be wedded (or wed) to the mood and character of the passage you are playing hence the reason for exercises that develop flexibility in controlling the speed and amplitude and not be at the mercy of only being able to do it one way or have one finger weaker or less flexible than another or just trust that the emotion of the moment will automatically allow you to "find" the vibrato.
In that regard, it is important to know how to balance each finger over any string in any position. Understanding balance means having knowledge of how your muscles move your bones and to what extent so you can avoid tension or limitation when using vibrato.That said, few would choose to vibrate with their fourth finger say, in tenth position on the G string in a moment of great intensity knowing that the third finger, by its position and size, would be a more natural fit. Still cultivating flexibility is a worthy endeavor.
One final observation- curiously, the video does not make mention of Kreisler who was known for his continuous vibrato and who did not like the fourth finger. Yet few would argue that a significant part of the charm of his playing was the way in which he used vibrato.
I'm even more convinced, that I"ll never get vibrato !
This video seems helpful for those who have been doing vibrato for some time and want to improve it's quality, but I don't think it would help a beginning vibrato student know where to start.
Great videos, but there's no such thing as only arm or only wrist vibrato. Everyone has a combination, because of you isolate one part you become stiff
I have seen people use almost exclusively one or the other, but I agree that most of us combine them in some way.
What about finger vibrato?
Reminds me of the old quote: those who can't teach...play :) ONLY kidding (kinda)! Seriously, this video has some great comedic effect mixed with some very useful nuggets. I myself recall training my vibrato with my teacher from a young age using a homemade device consisting of a small plastic container with pinto beans inside (or maybe lima beans). Helped me develop a smooth, relaxed vibrato. That said, I never fully got to the level of comfort of many of my colleagues and still felt torn about the concept of "independent" wrist vibrato (aka an active write vs. a passive, flexible wrist). Cheers, tonebase!
Hi, what music is Henryk Szeryng playing at 4:15?
there is finger, wrist, and forearm vibrato. do yourself and learn all 3. the trick is to land vibrating with the core note in tune. vibrating against a metronome is hood to find the max speed of all types of vibrato.
I do wrist vibrato only with soft piano pieces because I suffer from violin shake with arm vibrato so my bowing becomes jumpy and inconsistent which is accentuated when playing softly since your bowing will be slow and light
So do any way it feels good and natural
i find my left arm and wrist simply don't want to do either fluidly. Sucks.
Same 😢
singers too did/do vibrato
Was vibrato possible on violins
when bows resembled the Weapon??
Where is the viola on tonebase?
Interesting and I think that good vibrato has to correspond to a good tone and overall right arm technique
Arm vibrato builds a more solid sound in lower positions, but it becomes very difficult in the highest positions, where wrist vibrator becomes much more practical.
I use arm vibrato, I only have trouble with my 4th finger when I’m super high up.
I find arm vibrato better for the health
To much weight and pressure is put on the wrist in our lives(pc,cellphones, normal tasks)
So i try my best to use arm also the arm has way more stamina them the wrist alone
I find arm vibrato better because I can actually do it, haha. My first teacher tried to teach me wrist vibrato over the course of several weeks, but I could never get the hang of it. Another teacher showed me arm vibrato once and I could do it. I do admire those who can do wrist vibrato and often feel like my vibrato isn't as good, but being able to do it at all is a win for me.
@@AbigailPoirierI can’t 100% tell the difference when I listen to people. Wrist sounds a bit wider and arm a bit narrower but that’s just a guess. The only reliable way I can tell is by watching.
My vibrato is wonderful.....when i am nervous as heck in front of people. In the practice room, not so much. LOL
My teacher says there are 7 different types of vibrato. I'm still trying to master at least 1 😆
Heifetz said to his students there are 5 types of vibrato and a good violinist should know at least 3 of them. 😂 At least that's more objective than "This way only! "
The violinists in this video are bad and never heard of any,
of them, the chubby elderly and the white hair guy are just bad at playing 😂
@@Joshs8707You probably don't know that Adam Han Gorsky is a student of Heifetz. But yes, the opinions given here lack a certain amount of rigour.
@@srinitaaigaura Certainly he used to be good, but aging is a bitch and he now plays like old Shlomo Mintz.
@@Joshs8707 the chubby elderly as in Ashkenazi, the guy who won queen elizabeth??? u can find vids of him playing last rose of summer in that competition, hes certainly not in his prime but i advise u see his prime before saying something like that
Bottomline, there is no right technique or approach. There are only commonalities shared between good violinists. Have the fundamentals correct (relaxation, hand frame, etc) and find your sound by experimenting.
Absolutely
Truly. ❤
Wow 3.35 sec gold ❤
Great video….wrist or arm vibrato. They both sound great.👏👏
Contradictory opinions
😂
I would say "erratic". It would be very interesting what each one had to say about the others.
Yea; seems like the teachers don't agree on it either :')
Because both are ridiculous!
We also have finger vibrators
Ya habla en ingles!!!
Ponele subtitulos en español.!!!
Saludos desde Rocha Uruguay
Thanks yt algorithm for recommending this video right after I learn wrist vibrato
Haha, do what’s natural to you. Arm is natural for me. But if it sounds good, who cares.
murphy, aku mau tanya, which one good, using pad or tip?
This is Tobiah Murphy: It depends. GENERALLY I use the pads of the fingers, but it depends on a lot of different factors, most notably the size and shape of the violinist's hand and fingers, as well as what kind of sound you are going for. I'd say to go for whatever keeps your hand loosest and most consistent, generally. Consult with a good private teacher, as always.
@@tonebaseviolinmatur suksma for yout reply ❤
what is the piece playing at the end of the video?
Brahms sextet no 1
Brahms, String sextet in b flat. One of the "Himalayas" of chamber music: th-cam.com/video/c5D9FbG71eE/w-d-xo.html
The only problem with my vibration is it shakes my violin any tips on how to fix it? Thanks!
You might be squeezing too hard with your thumb.
I agree. Try playing some without the thumb to feel the movement without restriction.
@@candacedelvalle6512 Impossible to play thumbless for me, the neck hurts so much from holding the instrument by itself as the left hand fingers come down on the fingerboard
Different bodies different techniques…find your way
Great lesson! 😂
violin teachers are weird. Each teaches differently and they all say that their method is the only method. Guitar teachers are better. You can hold the guitar in your lap, you can play it left hand, you can vibrato with your wrist or arm, or shake the guitar, nobody will say it's wrong and the guitar teachers are ultimately much more accepting of differences. Something about the violin is very backwards looking and reactionary and everyone thinks there's a right and wrong way to do things. Maybe there is, maybe there isn't.
There is a degree to which this is correct, that a lot of people teach things as fact which are more opinion, but with study you find that almost everything good teachers will tell you is getting at the same thing from different angles and almost none of it is mutually exclusive. It’s also very different looking at guitar vs violin because the truth is modern guitar playing doesn’t require quite as refined and specific technique as violin playing does. This is partly because when you’re playing violin everything you play is something someone else wrote and you have to fit a very strict style, which is just not true with guitar. Everyone’s performance is expected to be solely theirs and even if they are playing someone else’s music it is rarely with the idea of preserving exact style. The level of technique required to be a professional violinist is also quite a bit higher than the level of technique needed to perform at a high level on guitar. You don’t have to worry about intonation, in many genres you don’t need the level of complex runs compared to violin, and so the technique just has to be more refined, more corrected, and more specific. This is all on top of the fact that the violin rests in a much more unnatural position meaning that improper technique and tension can cause injury much more easily.
What I've noticed is that these people have learned when they were too young to have all these thoughts about what they were actually doing. Then, later in life they start to think about it and come up with an explanation, but that perhaps has nothing to do with how they've learned it at all.
I've played both... not to professional degree but enough to get out of noob town. Violin has a much higher entry ceiling than Guitar; it's not even close. Violinists go through years of practice just to get out of sounding like a dying chicken. This, I believe explains why guitar teachers are more accepting of different styles. The prof violinists used a certain method for an extended period of time to get to sounding great, so they're more inclined to strongly believe in their own method.
@@LZKS i play both and agree the violin is at least 100 times more difficult. I still think the voilin teachers are really set in their ways. You want to know what instrument is almost as difficult as a violin? A steel pedal guitar. That thing is a monster. And you now what? They are exactly like violin teachers. Some say hold the index finger flat against the slider, others say arch the index finger and everyone knows they are right and that's the only way to play it. You might have something here. Spend 10 years figuring something out, you don't want your student to play it differently from you. Then how can you teach them?
I think I can chime in on this...as a lifetime electric/acoustic guitar player (around 20 years) and bass player and I just started violin 1,5 years ago. There is alot less freedom on the violin to do things "as you will". It is by far the hardest instrument I have ever tried to learn (or actually; the hardest thing I ever did in general). I feel like most of it is learning to NOT do stuff. You need to be swift; agile, without any tension..it *almost* feels impossible. Until you get some of it...and it feels amazing.
It is ALOT easier to create good tone on guitar or alot of other instruments. So it's not backwards; although there are alot of bad teachers...alot of stuff for the violin is "the only way" to do it correctly. That includes 95% of the bowhold technique, the way you hold the violin, where you bow, what angle you bow...how relaxed you should "push" down on the strings to get tone and ALOT more that I don't include here. There's little room for variety that's why any good player looks 90% the same (for the unskilled eye).
I'm not saying that there aren't any teachers that make it seem like their way is the ONLY way and that way might be bad. There are alot of sub-par teachers out there, and if you know what to look for you can spot it very easily as well.
Okay but what does the elvish say on Vijay's tattoos? These are the important questions
Back in the 1960s a violinist who had been a former concert master of the Radio City Music Hall orchestra retired in Bisbee, Arizona.
He was a wonderful performer, and practiced Paganini every day. It has been a very long time but I think I remember his name as being David Zickel. (sp?)
He had trick piece he performed which was supposted to be a fine violinist playing a duet with a violinist who was not very advanced.
What he did was to use a finger vibrato on one voice of tune while playing a second voice of the tune with no vibrato.
In other words he played a whole series of double stops using a finger vibrato one of the double stop notes and while other had no vibrato at all!
It was an amazing trick as it seemed that it would be almost impossible for one violinist to perform this way.
This vid explains well on why musicians need to learn human body physiology and anatomy! Otherwise students can really get confused by these controversial, abstract opinions from the masters.
Fritz Kreisler never matched.The best vibrato ever.
I would include Heifetz, both, Kreisler , and Heifetz,had the most wonderful sound, and opulant vibrato in history.
@@frankie6954 I agree, but much prefer the young Heifetz vibrato, because it was more colorful...
So before Kreisler less vibrato? Who really knows. Gut strings are beautiful even open E without vibrato
@@wernerretief4569 No... Paganini used the continuous vibrato according to Carl Ghur and other clever contemporary reviewers. Even the doctor who examined him for a public release to understand his outstanding habilities spoke about an extraordinary non stop shaking of the left hand...at the time, the word " vibrato" did not exist in violin technic language. Geminiani wrote it was meant to be used as much often as possible , even in fast passages.
unfortunately I do side to side vibrato, and was so sad when I learned I was doing it wrong- the right way is too hard to learn now after 30 years
What is side to side virato?
It might be an innovative idea?who knows?
@@MrThuraKono
Why would he be very unhappy if someone complimented his vibrato? Are they saying it is too showy? Thanks!
Because it’s just an embellishment, not the meat of the playing.
Haha im curious how Heifetz or Menuhin could do it? 😉
I never could get the hang of vibrato on violin or viola. Only can do it on wind instruments and guitar.
So is it better for arm or wrist in wind instruments?
How to not hurt the finger tips? 😥😥
What current violinist's sounds and vibratos do you like who are performing today?
Shunske Sato
Augustin Hadelich
Itzhak Perlman. 🙂
And this kids, is how not even being the pupil of the great X, Y, Z can save you from being completely and utterly wrong.
Only one didn’t use the wrist. The rest of masters all used their wrist to do that.
Great! Now I am really confused
In my pov: the main point is to be in tune and portray beauty. I believe that the tone can go above and below the tone. AI will prove the greats did this. Also a combination of wrist, finger, and arm exercises is important to portray the extreme beauty that is needed at the appropriate time.
If you only shake your head side to side vigorously, you will hear the vibrato. Yeah. You will. Nobody else will.
So this was confusing… thanks 😂
Do vibrato that you find most comfortable. I don't like the idea of doing it under the note because then it would sound flat. Do it around the note.
This video proves you can pay a lot of money for advice that is terrible. And still get great training for $10 a month. The trick is figuring out what's correct for your own needs.
I am gypsy and many of my relatives play violin. I learned from the worst of them. Never stop learning no matter how trivial it may be.
try toe(toe joint), foot(ankle), leg(knee) vibrato
nothings better than zakk wylde's vibrato
I dont know why everyone glazes over David Nadien, perhaps the greatest vibrato in history. Not ot mention, Joseph Silverstein and of course Kreisler.
Never use wrist vibrato? It's not successful? Tell it to Itzhak Perlman, Oistrakh, Szeryng
ai will complete the debate. It is a combination that we all must have. Also we all have our strengths and weakness. Better to practice all.
Someone who can’t produce vibrato yet should probably first think about decoupling the behavior of the left arm from the right arm .. and than .. just shake it to taste (the left hand 😜)
Never say never.
I think the reason why virbrato is such a difficult skill to teach is bc it originally came from emotion while playing then it was visually copied.
so basically, is that you find which method works best for you and stick with it. got it.
Hahaha they all have the one true way.