All Vibrato DO NOT USE articles – Page 2
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FocusKlezmer 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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ArticleVibrato 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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ArticleAmerican 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 ❘ FocusHow 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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FocusHow 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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ArticleCellist János Starker on vibrato
Vibrato is tension and release. I had an argument with Paul Rolland, who claimed I was rolling above the note and back, but I don't think so. I am in the middle of the note and then releasing' Cellist János Starker speaks about vibrato in an interview with Paul Katz ...
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ArticleCellist David Finckel on producing a wider vibrato
The wider your fingertips, the easier it is to produce a wide vibrato' Cellist David Finckel demonstrates how to produce a wider, richer vibrato. Watch Finckel's video demonstration on smooth bow changes and read his 10 habits of successful musicians. Subscribe to The Strad or download our ...
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FocusDid early string players use continuous vibrato?
Contrary to current thinking, a light vibrato was the order of the day for 18th-century musicians, asserts Beverly Jerold
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ArticleSteven Isserlis on using the right amount of vibrato
You do need vibrato to emphasise phrasing and emotion, but not as an automatic part of your sound'Cellist Steven Isserlis puts former BBC Young Musician of the Year winner Guy Johnston through his paces in Rachmaninov's Cello Sonata at the International Musicians' Seminar Prussia Cove, and talks about ...
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ArticleViolinist Itzhak Perlman on vibrato
'One of my pet peeves is vibrato, the most underused tool for music-making' Violinist Itzhak Perlman, who is interviewed in The Strad's July 2014 issue, talks about vibrato. Subscribe to The Strad or download our digital edition as part of a 30-day free trial. To purchase ...
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FocusFrom the archive: Vibrato on the Violincello
In this article published in The Strad, May 1912, Emil Krall offers some instruction
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