Vibrato – Page 2
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Feature
Ask the Experts: should players separate technique and musicality in practice?
A violinist asks if players should separate technique and musicality when preparing a piece for a performance, and if there is a strategy that can help combat performance nerves
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Focus
8 ways to vary your vibrato
Tips from The Strad’s archive for varying vibrato speed, width, pressure and direction to produce an infinite range of colour contrasts
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Feature
7 mental techniques to boost your practice
Effective practice without the frustration and drudgery? Piet Koornhot looks at ways to direct your imagination.
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Premium ❘ Debate
Early vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
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Premium ❘ Feature
None of my teachers were any good at explaining technique - Ruggiero Ricci
Celebrating his 90th birthday in July 2008, the legendary violinist looked back at his teaching influences and revealed that he was largely self-taught
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Blogs
Yuri Zhislin on the 6 pillars of violin playing
The violinist and violist boils down a career’s worth of experience as soloist, chamber musician and teacher
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Video
‘With Nicky’ 9: Recap – vibrato in Massenet’s Méditation
A recap from Nicola Benedetti’s vibrato video, using the first two bars of Massenet’s Meditation as a vibrato exercise. ‘It’s important to remember that with all exercises, in the end, use your ears – they will tell you exactly how you want to sound and send messages to your hands ...
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Video
‘With Nicky’ 4: Vibrato Part II
Following on from last week’s episode in her series of video tutorials, Nicola Benedetti is on to Vibrato Part 2, in which she progresses from easier to slightly harder vibrato exercises. She focuses on how to put some of last week’s exercises into practice with one of the most popular ...
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Video
'With Nicky’ 3: Vibrato Part I
This week on Nicola Benedetti’s series of video tutorials, she talks about a much requested subject…vibrato. It’s not surprising there have been so many questions and comments about it as vibrato is one of the most tricky things for string players to develop. Learning and building the fundamentals of this ...
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Focus
10 ways to avoid tension in your playing
Advice on how to be flexible and relaxed as a string player from 120 years of The Strad
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Debate
With vibrato the question isn't just about more or less, but also about variety of sound
It is a wonderfully expressive tool when used sensitively, but soloists especially should take greater advantage of the various vibrato possibilities, writes violist Hartmut Rohde
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Focus
Technique: Viola vibrato, and how flexible joints and a keen ear can enhance your expressive range
Roger Tapping, violist of the Juilliard Quartet, on the faculty of the Juilliard School, and formerly New England Conservatory, gives a lesson on improving vibrato, particularly for violists
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Focus
Klezmer violin technique masterclass with Sophie Solomon
The violin is a vital ingredient of the klezmer sound. In this Masterclass from January 2007, Sophie Solomon, founding member of klezmer fusion band Oi Va Voi and artistic director of London’s Jewish Music Institute, explains that embodying a vocal quality in the instrument is the key to performing this ...
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Article
Vibrato in slow motion - on violin and cello
As part of a series of studies on vibrato pitch centre (2004, 2005, 2014), researchers Rebecca MacLeod of the University of North Carolina and John Geringer of Florida State University asked 60 university string players and a former concertmaster of the New York Philharmonic to perform a ...
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Article
American cellist Paul Katz on right-hand vibrato
The American cellist and New England Conservatory professor shares a technical tip from his former teacher, the great János Starker
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Premium ❘ Focus
How to develop an expressive vibrato
Just one beautiful note is all we need as a starter for a gorgeous vibrato, writes Phyllis Young
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Focus
How to develop expressive technique, by violist Pauline Sachse
The professor of viola at the Carl Maria von Weber School of Music, Dresden, explains how to give meaning to every note by training independence of the hands
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Blogs
'Bach should be played with vibrato,' says violinist Pinchas Zukerman
The veteran violinist, violist, conductor and pedagogue is interviewed in The Strad's September 2016 issue
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Focus
'Extremes of constant vibrato or none at all do not solve musical problems,' says violinist Anne-Sophie Mutter
The violinist speaks about vibrato as an expressive device
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Blogs
'Even the best vibrato can't help a poor right-hand sound,' says cellist Wolfgang Emanuel Schmidt
The German cellist and pedagogue discusses how to produce a strong and colourful tone
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