For Violin and Viola
Learning and teaching vibrato
From chance to choice: master your vibrato with intention
We explore which specific movement patterns are activated during vibrato, which exercises are most effective for developing them, and how established movement habits can be consciously and purposefully changed. Our interim findings are published below, while additional, yet unpublished results are shared in our workshops. Concrete exercises and methodical-didactic foundations on how to learn and teach vibrato are still relatively rare — much is still left to chance. This is unfortunate, as vibrato is one of the most important tools of musical expression.
At the core of our work are the many ways to further develop one’s own vibrato and to teach it effectively — from the initial stages of exploration to advanced professional refinement.
The Two Greatest Challenges of Vibrato
Anyone who aims for more than a random “wobble” needs focused practice and certain physical foundations. Alongside fundamental flexibility in the wrist, shoulder (arm), and finger joints, precise control of finger pressure is essential. Equally important is developing increasing independence between the left and right hands.
Finger pressure
Regulating and balancing finger pressure is essential for achieving the flexibility required in vibrato. At the same time, the finger must maintain sufficient stability on the string. In other words, it needs to be both firm and flexible — otherwise, unwanted fluctuations in intonation are likely to occur.
Actively finding and continuously adjusting this balance while playing is a key prerequisite for using vibrato with control and intention. The good news: it can be trained!
Independence
The control of vibrato speed — and thus the type of motion and the character of the vibrato — has a direct influence on sound colours. A key factor in this is developing increasing independence between bow speed and the speed of the left-hand vibrato movement.
When this independence is lacking or insufficiently developed, a faster bow stroke will automatically trigger a faster vibrato (and vice versa). The good news: this skill can be consciously and effectively trained!
Arm vibrato
A comprehensive collection of 39 exercises for arm vibrato is available, offering valuable guidance and support for both students and teachers — from the initial stages of preparation to advanced professional development. The collection covers topics such as continuous vibrato, vibrato in double stops, and vibrato during position changes.
It is likely the only collection of its kind. Many of the core ideas and exercises can also be applied to other types of vibrato — a transfer we have not yet published in full.
Impressionen
Arm vibrato violin and viola
For the music stand
Arm vibrato
39 exercises and 91 variations for practitioners and teachers. With QR codes for videos and further information.
Online Course
Arm vibrato
39 exercises and 91 variations (100 video demonstrations). The exercises are the same as in the Arm Vibrato booklet.
Approach for stability and flexibility at the same time
The combination of finger flexibility and stability on the string can be practiced particularly effectively with the fingerboard attachment. All types of vibrato benefit from its use. When applied, it initiates a kind of chain of relaxation that extends through the hands and arms.
The benefits:
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It allows relaxation during a type of movement that normally makes it difficult to stay relaxed.
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Finger pressure can be reduced to only what is necessary.
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The shape and design of the nodules provide an ideal balance between stability and flexibility.
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Established movement patterns can be more easily unlearned and replaced with new ones.
Alternatively, exercises using harmonics can also help develop a more sensitive finger pressure. Suggestions and exercises for this can be found in the Arm Vibrato booklet and the Arm Vibrato mini subscription.
The following steps will allow you to easily try out how the fingerboard attachment feels when using vibrato.
The fingerboard pad is attached as follows [video]: for wrist and arm vibrato, place it approximately at the height of the 3rd or 4th position; for finger vibrato, position it slightly closer to the bridge. Decide at this stage which type of vibrato you would like to explore.
Choose a finger and place it on one of the nodules, then begin very slowly to explore its flexibility by simply performing the vibrato movement. This applies to both arm and wrist vibrato.
For finger vibrato, the flexibility of the fingertip joint is particularly important. Place your chosen finger on a nodule and start very slowly by moving the joint downward and then returning it to the starting position — almost like a gentle springing motion. No pressure is required.
Once you feel comfortable with the movement, you can begin experimenting with speed. We recommend becoming deeply aware of the motion — almost “crawling into” it — and paying close attention to how the transition from fingertip to nodule feels.
At this stage, it often happens that the fingerboard pad detaches from the fingerboard. If no other reason applies [see: Bad Fingerboard Day video], this is usually due to excessive “throwing” of the motion. The goal should be to keep the attachment as stable as possible. The interaction between finger pressure and movement direction is crucial here. So: take your time to really sink into the motion, and only increase the speed once you can execute it in slow motion with full control.
Note: In our experience, some players master this very quickly, while for others it may take several days of practice.
Once everything is working well, add the bow and begin by playing vibrato on an open string. Experiment with what happens when you increase the bow speed — when you play faster: does the vibrato motion also speed up, or does it remain steady?
For more in-depth and differentiated exercises, please refer to the publication Arm vibrato as well as the section on vibrato in Best Practice.