Emotion and vib speed

Edited: December 2, 2017, 7:26 AM · Hi all,

I would like to improve my musical expression.

What emotions do each of the vibrato combination convey to you:

Wide and slow
Wide and fast
Narrow and slow
Narrow and fast?

Thank you!


P.s. on another note, slides?

Fast to slowing slide into note
Slow to accelerating slide into note.
Same finger on slide
Changing fingers on slide (higher to lower, lower to higher)

Replies (8)

December 2, 2017, 11:06 AM · https://m.youtube.com/watch?v=UqmP0vvGcGc
December 2, 2017, 8:39 PM · Not specifically what I'm asking but a great resource nevertheless, thank you.

I guess use vibrato (or the lack of) when it makes sense for me to and the appropriate one will naturally come out.

Just wondering if there's a general feel each type conveys.

December 2, 2017, 11:01 PM · For me, expression and emotion is the audiences's job, reacting to what I am doing. Use a slow, wide, vibrato on the G-string and a fast, narrow vibrato on the E-string. Be able to use vibrato while changing notes (continuous vibrato) . Occasional non-vibrato can be a dramatic contrast. Slides, also known as portamenteau (sp?) is a huge topic, a little dangerous, and currently out of fashion. Your best model would be recordings by Kreisler and Heifetz.
December 3, 2017, 12:43 AM · Expression is in the right hand. Vibrato doesn’t change the quality of sound, only adds to it. It is an ornament.
Continuous, discrete, and effortless is good.
Portamento is indeed a great expressive device, though one should be careful not to overuse it.
Edited: December 3, 2017, 6:26 AM · Joel and Roman - surely the use and nature of vibrato should be chosen according to the character and phraseology of the music, not "continuous, discreet and effortless" like a coat of paint or automatically varied according to which string you happen to be playing. In any piece there are occasions when vibrato can cease altogether to great expressive effect. You may choose to start an adagio melody virtually senza vib and gradually warm the sound towards the heart of the phrase. I do agree that portamento can be wonderful when applied at times a singer would use it. Unfortunately in the past it became a violin cliche so now I believe is generally underused.
December 3, 2017, 9:31 AM · Steve, what I meant was that vibrato should not be consciously controlled, to the detriment of the right hand. I find that if I shape phrases with a certain emotional idea in my head and focus on how to make that happen with the bow, the vibrato automatically adjusts to the sound I have in mind.
Too often nowadays the contrary happens: people playing with absolutely zero expression and 100% even sound in the bow, but with Supra-varied expessivissimo vibratos. Well, guess what, that Supra-varied vibrato ain’t shit if the bow hand is dull.
December 3, 2017, 10:31 AM · I think a fast vibrato, whether wide or narrow, gives a more agitated feeling, while a slower vibrato gives a calmer feeling. It's hard to vibrate short notes, so I often don't bother to vibrate them. Baroque music doesn't need as much vibrato as classical, romantic or contemporary music.
December 3, 2017, 11:48 AM · Apart from fast-slow and wide-narrow, isn't there another dimension to vibrato which is variation in finger pressure? I'd never claim the right to preach (or teach) but I'm sometimes distracted by a player's tendency to "throb" caused, I suppose, by variation in bow contact as the vibrating finger allows the string periodically to lift slightly from the fingerboard. I doubt that it's possible to separate this effect entirely from "proper" vibrato, but is the distinction generally recognised?

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