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An Integrated Approach: Eight Tips

for Teaching, Learning, and Improving
Violin Vibrato
By Joseph Kneer

As a young violinist, I learned to vibrate using my arm, as The main goal of initial vibrato-related exercises is to awaken
many students do. This worked well at first, but as I began the motions and flexibility required to achieve a healthy
to explore higher positions and more complex repertoire, vibrato sound while remaining as relaxed and free as possible.
my vibrato just couldn’t keep up. There were notes in certain As Fischbach and Frost remark at the beginning of their
musical contexts and places on the fingerboard where my book, “The vibrato mechanism includes the six joints from
shorter, wider, and less flexible fingers could not produce the shoulder to the fingernail. It is the string player’s goal to
an effective vibrato, at least without a lot of effort. I was have freedom of movement in all of them” (Fischbach and
stubbornly determined to make it work, and for several years Frost 1997, 8). As you begin any tapping, swinging, and joint
my shoulder and upper arm bore the brunt of this struggle. flexibility exercises (these are all great, since they integrate
Many students develop a healthy, functional vibrato several motions at once), make sure that the shoulder, elbow,
without much fuss, using either an arm or a wrist motion. wrist, and finger joints are all moving freely. In addition, do
However, in some cases, an integrated vibrato—a motion that not forget to experiment with all of the possible motions
incorporates aspects of both approaches—can and should be of each of these joints, including pronation and supination
introduced earlier in the development of vibrato to promote (inward and outward rotation). Practice these basic motions
efficiency and ease of playing. Even for players who already regularly, away from the instrument:
feel comfortable in this area of technique, an exploration of
integrated vibrato offers a chance to reexamine all aspects of •• Shoulder: Shoulder circles, shoulder lifting and
the vibrato mechanism, from the shoulder to the fingertip, dropping, waving, and rotation of the arm.
thus expanding the possibilities of expression and efficiency. •• Elbow: Opening, closing, and rotation of the forearm;
For a classic example of this approach, take a look at make sure to initiate this motion not only from the bicep
any performance by David Oistrakh. Watch his masterful (front of the upper arm) but also from the triceps (back
interpretations of “Clair de Lune” (Oistrakh 1962) or “The of the arm). The Brachialis muscle (just above the elbow
Girl with the Flaxen Hair” (Oistrakh 1972), and you will and beneath the biceps) is another powerful flexor that
observe an amazing freedom in his vibrato, a freedom that can share in this work. Be careful not to overwork any
allows him to occasionally even lift his chin off of the chinrest single muscle or muscle group.
while continuing to vibrate. When viewed closely, this ease •• Wrist: Wrist circles; make sure to keep the thumb and
of motion does not come strictly from the upper arm but other fingers relaxed.
the muscles in the forearm and, in particular, the hand: the •• Fingers—Base Joints: Gently and easily “clapping” the
flexibility in the finger joints and wrist, the balance in the palm using your fingers, bending at the base joints.
hand and arm, the independence of the fingers from the Try individual fingers (third finger will move with the
thumb, and the resultant lightness and release of the fingertip fourth finger). Do this gently, and make sure the thumb
in the vibrato motion. stays uninvolved and relaxed. If you feel any tension
If you or your student currently think of yourself as an or tiredness, shake out your hands and rest them for a
“arm-only” or “wrist-only” player, I encourage you to explore minute or so.
these tips, exercises, and reminders for developing a more •• Fingers—Second and Third Joints: For the second joint,
efficient, nuanced, and ultimately more satisfying vibrato. use your right first finger and thumb to isolate and gently
These concepts have helped my own playing tremendously, flex it while keeping the other joints quiet; for the third
and I hope they will offer some helpful food for thought on joint (or nail joint), place the pad of the finger on the
this long-debated and important topic. back of your right hand or on a flat surface, and gently
wiggle the joint. Again, this exercise is only meant to
awaken the joints, so avoid any strain or tension.
First Steps
There are many wonderful texts for both beginning and
remedial work, from Paul Rolland’s invaluable approach in The Finger Placement, Alignment, and Balance
Teaching of Action in String Playing (Rolland 1974, 153–63), These are key factors in string playing. As you progress
to Gerald Fischbach’s and Robert Frost’s insightful and through various vibrato motions and exercises, remember a
approachable text, Viva Vibrato! (Fischbach and Frost 1997). couple of things. First, although there are many possibilities

American String Teacher

Vol. 68, No. 4, November 2018, pp. 41­–45
DOI: 10.1177/0003131318795861
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If you or your student currently think of yourself as an “arm- “

only” or “wrist-only” player, I encourage you to explore these
tips, exercises, and reminders for developing a more efficient,
nuanced, and ultimately more satisfying vibrato.

”
for fingertip placement (depending on the given technical these principles more directly to the development of vibrato,
and musical context), the finger should generally touch the try the progression of exercises in Figure 1. You can use either
string near the tip (but not right on the tip) and slightly on the an arm vibrato or wrist vibrato motion here. For wrist vibrato,
inside of the finger, the side closer to the thumb. Without this start with a G# instead of a G, keep the arm in third position,
orientation, the rest of your alignment and vibrato mechanism and begin with the wrist rolled backward to first position. For
will be less efficient, and your elbow may get stuck under the the final exercise, offbeat eighth notes should sound slightly
instrument, making it harder for you to play freely and easily. flatter than those on the beat.
Second, depending on the size, shape, and flexibility of the Beginning with the third exercise, it is important to hear the
left hand, your fingers may be facing anywhere from parallel to upper note (B) as the more accented pitch. Make sure the elbow
nearly perpendicular to the string. Larger, more flexible fingers is re-adjusting during each shift, and the forearm is allowed to
can usually orient themselves more parallel to the string, while rotate subtly and naturally (supinating, or rotating smoothly
shorter fingers and smaller, less flexible hands may need to on the way up, relaxing back on the way down). Keep in mind
adjust to a more perpendicular position (Hauck 1975, 73–77). that a minute waving of the elbow (from the front to the back
Third, make sure that for every note you play, you find a of the violin) is also part of a natural vibrato motion (Rolland
“centered” or balanced position from your fingertip all the 1974, 158, 163). Again, it is crucial to allow (rather than force)
way up to your shoulder and back. There are many exercises these motions to be a part of the vibrato mechanism, since they
for this, but an easy way to experiment is to place your third increase the potential flexibility of the arm and the ability to
finger on the A string in third position (around an F or F#) adapt the vibrato to various positions on the fingerboard.
while swinging the elbow from the front to the back of the
instrument (from the E String to G String side). As you
swing, gently keep the finger down on the string (allow the Picture It: Vibrato Pitch, Direction, and
pad of the finger to rock). Find the place where your elbow Release
feels the most comfortable and your hand is relaxed and An often-neglected step in the teaching of vibrato is the
more or less aligned with the forearm (a relaxed position for clarification of the vibrato motion itself. This oversight may
you may mean that the wrist is bent slightly inward in lower not hinder a more intuitive player, but if we cannot clearly
positions or outward in higher positions). Tap your thumb to define the goal of the motion, we are ultimately wasting time
find the most comfortable point of contact with the neck; the and opening the door for unwanted habits or other problems
fingertip should feel light and agile. Practicing scales slowly down the road.
with this in mind can be a very worthwhile investment.
A vibrated pitch on a violin string oscillates between the note
Fourth, experimenting with the “MVP—Minimum Viable in question and below it. Although some instances of a wider
Pressure,” as violinist Nathan Cole describes it (Cole 2017), and more intense vibrato may swing above the pitch ever so
and varying the pressure of the fingertip on the string slightly, it is not advisable to do so regularly, because it distorts
(Fischer 2013, 189) can go a long way in making your left the intonation. Although earlier studies suggested that the
hand articulation more agile, clearer, and more efficient. At center of the pitch was also the center of the vibrato (Seashore
the same time, it will promote a lightness of touch with the 1938, 211) as it appears to be for singing, later pedagogical
fingertip that makes each note more vibrato-accessible. conventions and direct observation conclude that we hear the
highest pitch as the true one on the violin (Fischer 2013, 250).
Shifting, Gliding, and Narrowing Exercises To achieve an efficient vibrato motion, the fingertip itself rocks
Use shifting, gliding, and narrowing exercises frequently (or in some cases, rolls) up to the pitch and back in one impulse.
on all strings and all fingers, as outlined in numerous texts, If both directions of the motion are controlled (a common
including Introducing the Positions (Whistler 1989) and mistake), the vibrato will be overly labored and impractical.
Rolland’s previously mentioned writings, to encourage general An equally important question in our quest for clarity is,
lightness in the fingertip, releasing of finger pressure during “How is the vibrato initiated—forward into the pitch, or back
shifting, and alignment of the arm, hand, and finger. To apply from it?” Although it is possible (and at times artistically

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Figure 1.  Progression of shifting, gliding, and narrowing exercises.

desirable) to initiate the vibrato in either direction, it is my and base joints. The natural “furling” and “unfurling” of the
opinion that swinging forward into the pitch is the more vibrato motion can get stuck quite easily if the hand and arm
natural motion and should be mastered first. A forward begin to tighten and bigger arm muscles take over. After you
motion aligns the beginning of the vibrato impulse not only become comfortable with the basics, make sure to practice
with the true pitch, giving the note more clarity of intonation, your vibrato motions not only in one direction but also in the
but also with the forward articulating and swinging action complementary (opposite) direction—this will help to balance
of the fingers in the tapping motion. The backward-initiated and stabilize your vibrato, even out the strength of various
vibrato, an expressive tool for certain lyrical passages (richer, muscle groups, and increase general flexibility and ease. Also,
slightly flatter intonation because of the emphasis of the remember that the base joint, unlike the other finger joints, has
lower end of the pitch), is counter to this natural direction of the ability to rotate, not just move forward and backward.
articulation and can, therefore, create initial confusion for the
student if introduced first. To incorporate this important motion, put down your
second finger on the A String in fourth position (on an F#).
Focusing the Vibrato Motion: The Wrist and Rock the finger back gently, trying to use only the nail joint.
Now, make the nail joint a passenger on the ride, and rock
the Base Joint the finger back gently from the base joint. If the wrist rolls
As you and your student begin to narrow the range of the back a little, that’s fine, but make sure that the base joint is the
vibrato motion, make sure to continue to incorporate the primary participant in this exercise. Finally, practice rocking
flexibility and ease of all joint movements, especially the wrist the entire hand back, allowing all of the joints in the wrist

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and hand to move, including the base joint. This awakening more interconnected than we think. The flexing action of the
of the base joint provides an important additional point of elbow we call “arm vibrato” is initiated somewhere just above
flexibility. Base joint widening exercises, like those in Simon the elbow, while motions involving the wrist (both front-
Fischer’s Basics (Fischer 1997, 93–97) or in Dounis’s The to-back and side-to-side motions) and fingers used in what
Artist’s Technique of String Playing (Dounis 1921, 18–23), can we refer to as “hand vibrato” are controlled by flexor and
be helpful, so long as the student keeps these practice sessions extensor muscles throughout the forearm, many of which
brief and avoids building unnecessary tension into the hand. attach to bones in and around the elbow. Third, muscles
perform most efficiently and naturally as a group. If certain
Independence of the Thumb muscles in the arm and hand are less developed or weak, or if
particular muscles are isolated for long stretches of time, this
This concept cannot be overstated: the ability of the rest puts undue strain on the rest of the muscle group. Stabilizing
of the left hand, fingers, and forearm to swing freely while muscles near the elbow and wrist have an important
the thumb stays relaxed is absolutely crucial to the vibrato supporting role in refining and evening out the vibrato
motion. To develop this important skill, I recommend motion. Fourth, remember to monitor your breathing
Gilbert Waller’s Waller Vibrato Method for Strings (Waller during practice and performance. Unnatural or labored
1951, 4–5). Waller’s swinging exercises in guitar position breathing causes muscle cramping, soreness, tiredness, and
encourage independence of motion in the hand and fingers eventually, injury. Use slow scale practice to help even out
while keeping the thumb loose. Put your left hand in front your breathing, and, when appropriate, practice linking
of you with your palm facing your stomach. Now wrap the your exhalations with the onset of tone—this will encourage
third and fourth fingers of your right hand around the last both relaxation in the arm and maximum efficiency in your
joint of the left thumb. Swing the left hand toward and away vibrato motion.
from your body in a vibrato motion, keeping both the forearm
and thumb silent. Try it first with your fingers extended, then
curled. Again, the thumb should stay independent from the Other Exercises
swinging of the hand. The short exercises found in Fritz Rau’s admirable book Das
This exercise can also be applied to arm vibrato. Using the Vibrato auf der Violine (Rau 1922) are particularly useful in
same starting position of the hands, allow the forearm and developing and incorporating many of the above concepts
hand to rotate together as one unit (the wrist does not break) into a healthy vibrato motion. Although I am not aware of
while the thumb remains in place, still held by the right hand. an English translation of this text, the musical examples and
Once these exercises are mastered, put your violin in guitar notated exercises are quite straightforward. Through half-
position (under your right arm with the scroll angled out to step gliding, tapping, finger independence, double-stops, and
your left) and place the left thumb on the neck of the violin forward and backward initiation and release exercises, this
in about second or third position, allowing the rest of the book encourages a healthy and efficient vibrato motion in the
hand and arm to hang. Repeat the above exercises, making hand.
sure that the thumb stays relaxed and in the same position, as Trill exercises and etudes, including the famous set from the
before. Kreutzer Etudes (15–22), are also valuable for activating and
refining your vibrato, because they help access many of the
Roles of the Muscles in Vibrato same actions and muscles. Remember, however, that the main
Anatomy is an under-taught subject in most string pedagogy. goals of these exercises should be to improve coordination,
In my experience, many teachers admonish their students evenness, independence of fingers, and ease of motion
to relax without explaining how or clarifying what muscles through alignment. If these etudes feel particularly taxing for
to actually use. Despite sufficient research, our pedagogical you after several weeks of practice, you are working too hard:
language often lacks specificity in describing how the muscles either your thumb is adding unnecessary counter-pressure
in the torso, back, neck, and (especially) the arm and hand aid and inhibiting your speed and range of motion, or your arm
in proper execution of various technical functions. and hand are not aligned with both the principal and trilling
fingers, which puts undue pressure on the hand and forces
I do not pretend to be an expert in this area, but there are you to use larger muscle groups.
a few pertinent points that should be made here. First, in
a study conducted by Matthew Weber at the University of
North Texas on the role of various muscle groups in the References
vibrato motion (Weber 1995, 120–129), it was observed that Cole, Nathan. 2017. “Violin Left-Hand Finger Pressure: How to Find
the muscles in the back, neck, shoulder, and upper arm were Your MVP.” https://www.youtube.com/watch?v=SC4oO9l8P-8.
generally less active than those of the forearm that control Dounis, Demetrius Constantine. 1921. The Artist’s Technique of Violin
the rotation of the lower arm, wrist, and fingers. These Playing, Op. 12. New York: Carl Fischer.
findings suggest a more comprehensive and shared role in Fischbach, Gerald, and Robert S. Frost. 1997. Viva Vibrato! San
the vibrato motion. Second, the motions of the elbow and Diego: Kjos Music Company.
wrist can seem like distinct, unrelated actions, but they are Fischer, Simon. 1997. Basics. London: Peters Edition Limited.

44 | American String Teacher | November 2018

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Fischer, Simon. 2013. The Violin Lesson. London: Peters Edition

Limited.
Hauck, Werner. 1975. Vibrato on the Violin. Translated by Kitty Rokos.
London: Bosworth.
Oistrakh, David. 1962. “David Oistrakh, Debussy-Clair de lune
[Moonlight].” https://www.youtube.com/watch?v=SKd0VII-l3A.
Oistrakh, David. 1972. “David Oistrakh-Debussy Prelude ‘A Girl with
Flaxen Hair.’” https://www.youtube.com/watch?v=ReLJZDF4boI.
Rau, Fritz. 1922. Das Vibrato auf der Violine [Vibrato on the Violin].
Leipzig: C. F. Kahnt.
Rolland, Paul. 1974. The Teaching of Action in String Playing.
Urbana: Paul Rolland.
Seashore, Carl E. 1938. Psychology of Music. New York: McGraw-Hill.
Waller, Gilbert. 1951. Waller Vibrato Method for Strings. Chicago:
Kjos Music Company.
Weber, Matthew J. 1995. “An Investigation of Selected Muscle
Potential Activity in Violin/Viola Vibrato.” PhD diss., University of
North Texas, Denton.
Whistler, Harvey S. 1989. Introducing the Positions. Vols. 1 and 2.
Chicago: Rubank.

Violinist and conductor Joseph Kneer

is an assistant professor of music at
Trinity University, where he conducts the
Trinity Symphony Orchestra and serves
as faculty violinist. He holds degrees
in violin and theory pedagogy from
Oberlin Conservatory and the Peabody
Institute, and has studied with Mary West,
Milan Vitek, Herbert Greenberg, and
Violaine Melançon. An active recitalist
and orchestral player, he has performed
on numerous concert series across the
country. His students have won notable
local and regional recognition, both in competition and in all levels
of various All-State orchestra programs.

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