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GERALD F. FISCHBACH & ROBERT S.

FROST

A Comprehensive, Friendlq, and Effective Course of Stud'j for


the Development oi Vibrato on Violin, Viola, Cello, and
String Bass in Group or Private Instruction
va
Vibrato!

* Elizabeth Atkinson

* Jill Fitzpatrick

* Catherine Schreiber
* Jonathan Jones

Stars

*Minna Hsu

*Jacob Lee
* Alexander Barge
96CO
I, READINESS
Vibrato is a balanced, rocking movement. It is much like waving hello, knocking on a door, salting your food, or patting a
og. When you are balanced, the vibrato rocks easily; vibrato "just happens." When you are out of balance, muscles
.ghten, parts of you squeeze and pinch, and vibrato is difficult.

Before we actually begin vibrato exercises, let's run through a Vibrato Readiness Checklist.

Vibrato Readiness Checklist ----------------


~ Body. Does your body swing easily backward and forward, from left to right, and around in small circles? Of course it
does! You've been an expert at those motions since long before you learned to play. Do these gentle movements again, and
notice how easily you move.

ow place your instrument in playing position. Again, move left to right, back and forward, and in small circles. Are you
still moving as easily? If so, good; you have successfully included your instrument into your balanced body system. If not,
ask your teacher if you are holding (balancing) your instrument correctly.

~ Arm. Put your left hand in playing position. Does your elbow swing freely? If not, you are tense in the shoulder, and
you may have the elbow too high or too low. Move the elbow. Can you now release some left arm tension that perhaps you
didn't even know you had? Swing your left elbow again.

ow it's time for our first Swingercise! Photo #1

#1: SWINGPLOP

1. With your instrument in playing position, use your legs and knees to keep it
steady and secure. Let your left arm hang by your side. Now swing your left arm
in a lazy are, forward and backward.
2. After a few lazy swings, use a forward swing to toss the hand up and over the
instrument, then drop the arm so that the fingers plop on the fingerboard. Let
the fingers "spring" a little on the fingerboard. See Photo # 1.
3. Do Swingplop three to five times.

Photo #2

!if Hand. In playing position, does your hand


balance easily on the end of your forearm?
Does it move freely from the wrist? Check the
line from fingers through hand and forearm to
elbow: there should be no unusual bends or
kinks. See Photo #2.

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3
Photo #3

I!f Thumb and Fingers. No squeezing allowed! Tap your thumb. It should be
flexible, touching the cello neck toward the inside edge, not the center, of the thumb
pad. See Photo #3.

Tap your fingers. They should bounce and float, touching the string on the fleshy
pad behind the fingernail, where delicious tone is found, not near the nail, where
you may produce a more pinched sound.

Contact should be made with just the thumb and finger pad; if anything else is
touching your vibrato will get stuck. Take care not to collapse the hand or pinch the
neck like a lobster claw!

Photo #4

#2: HAPPYTAPPY

1. Tap your thumb again. Tap, tap, tap! Now tap your third finger. Tap, taptap, tap!
And again the thumb.
2. Now third and fourth together. Then thumb. Now fourth alone. And (guess
what?) thumb.
3. Next, middle fingers together, then thumb. Then second alone, and thumb.
4. Now first and second, followed by thumb. And first alone, then thumb.
5. Now mix them up some more, switching regularly between fingers and thumb.
See Photo #4.

Photo #5

#3: SHAKE, RATTLE, AND ROLL

1. Without your instrument, hold in your left hand a (real or imaginary) matchbox
half-filled with rice kernels.
2 Now with your left hand, knock on an imaginary door in front of you. As you
shake and rattle, roll your arm around to simulate your playing position.
See Photo #5.
3. Continue the shake and rattle as you play vibrato on your on your "air" cello.

Extra tip: it can be fun and instructive to do Swingercise #3 with both hands,
mirroring the actions of the left hand with the right.

!!1 With our Vibrato Readiness Checklist in good order, it's time to move on to actual vibrato exercises, and to gi e bi
to a beautiful new vibrator
n. THE BIRTH OF A
selection of the exercises in this section should be repeated every day, even two or three times through the course of a
day, until your vibrato is born, and for a while thereafter. Some will be more useful to you than others; your teacher will
help you decide from week to week which combination of exercises is best for you. You will probably be doing these
exercises for several weeks to several months. Vibrato comes sooner to some than to others, but everyone gets it eventually.

You should do these exercises during your regular daily practice sessions, of course. Additionally, some of them are good
"TV Games"-they can be done while doing other things, such as reading or even watching television! The more often you
practice these movements each day, the sooner your vibrato will come.

~) 14: HANDPATS

1. With your instrument in playing position, place your left thumb on the cello rib
near the neck.
ow with the side of your left hand, pat the rib. Patpatpat! Let your whole arm
follow in motion with the hand. The thumb stays in one place. See Photo #6.
3. You can do Handpats with your hand placed at the curve of the cello's shoulder
as well. Let the thumb rest comfortably on the rib. Try out both locations .
. Handpat Rhythms. Pat the following rhythm patterns 10 times each:

IS: TOPTAPS

1. Put your instrument in playing position, and use your legs and knees to hold it
steady and secure .
. With your left thumb pad on the high string edge of the fingerboard in the
middle to high register, swing your hand over the fingerboard and tap on the
C string edge of the fingerboard.
• For right now, just to get the "swing" of it, tap at moderate, comfortable speed,
in no particular rhythm.
• Your hand and fingers should be very loose and floppy, with curved, springy
fingers. See Photo #7.

3. arne rhythms. Tap "[iminy Cricket! Jiminy Cricket!"

Tap your teacher's name. Tap your name. Tap the names of some of your friends!

Write the rhythm of your teacher's name here: _

Writetherhythmofyourname: ___

6CO
4. Toptap Rhythms. To the following rhythms, tap the C string edge of the
fingerboard as in Step 2. During the rest, swing your hand up and back to
first position, as a kind of "windup" to the next Toptap. Stay above the fingerboard
with the fingers. Pivot on the thumb, which stays in place. See Photo #8.

Tap the following rhythm patterns 10 times each d = 60) :

!A·II: n J ~:II II: m J ~:II c.11: ~


3

B. J ~:II
5 6

Photo #9a

#6A: 'ROOBOINGBOING
1. With your cello in playing position, close your left fingers into a gentle fist.
2. In about fifth position, start bouncing your hand on the fingerboard, like a
hopping kangaroo. "~I

3. Now bounce forward, to the higher positions, gradually to near the end of the
fingerboard.
4. Next, bounce backward, gradually back to about fifth position.
5. Continue backward, eventually to first position; then turn around, and hop back to
about fifth position. See Photo #9a. '
6. Repeat Steps 2-5 three or four times.
Photo #9b
#6B: CHICKEN WING

1. Bring the left fingers together into a point.


2. Place the tip of the fingers into the left shoulder.
3. Raise your left elbow so that it is not quite parallel to the floor.
4. Rock your forearm at the wrist up and down, in a vibrato motion.
5. Do the same with your right arm, together with your left.

#6D: STRING POLISHING


(CONTRACTING WOBBLE)
1. Hold your cello in playing position with your left hand in about fifth position.
2. Sliding up and down the fingerboard, polish a string with one of your middle fingers.
Photo #9c • Polish most of the string, from first position to near the end of the fingerboard.
• Slide on the fleshy finger pad.
• Slide light as a feather.
• When you change directions, the finger should flex a little, from all joints.
• Notice that in the lower positions, the thumb is also polishing the neck. See
Photo #9b.
• As you move to the upper positions, the thumb comes around from under the
neck and glides on the string behind the fingers. As you move back to the lower
positions, the thumb tucks back under the neck. See Photo #9c.
3. Now gradually make the polishing motion smaller and smaller, and a little faster.
4. Eventually, the finger pad centers on one spot, somewhere around fifth position. e
thumb is still polishing.
5. Now anchor the thumb, under the 2nd finger.
6. Repeat steps 2- 5 five times.
6
Photo #10

#'1: THE PARADE WAVE

1. With your instrument in playing position, bring your left hand up to about
fourth position. Open the hand so that the palm is above the strings facing
the fingerboard. Now wave to your cello!
2. Pick up your bow. Play long, slow strokes on the D string. Wave to your cello
again. Listen to your pretty vibrato! See Photo # 1O.
3. Play your Parade Wave Vibrato on other strings.
4. Play Wave Duet using your Wave Vibrato on Part A, which should be played
entirely using open strings. Play Part B using smooth string crossing waves.

1. Wave Duet Hermann Op. 20, no. 2

r-/ i1 ~
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<, 11~1

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......----:--.. ~ _",.----..
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....... I I 1 I I
• I
#8: 'TWSSNTAPS

1. 'Tween taps is just like Toptaps (Swingercise #5), except it is performed on the finger-
board, in a high position, in between your D and A strings.
2. Go through the Toptap Rhythms again, 10 times each. (See page 5.)
3. Use your second or third finger.
4. Be sure your wrist and finger joints stay springy and flexible.
5. Do aim for the space in between strings; if you tap on a string instead, you may
find your fingers and wrist getting stiff. See Photo # 11.

#9: HAND SHINS


Photo # 12
1. With the palm of your right hand facing you, place the tip of your left thumb in
your right palm. Now embrace your left thumb loosely in your right fist.
'''i ~.,..~•. "...•.~..'.~'..
:a:._ .: ,,': .. ,',i1111::.)..
2. With a handshaking motion of the left hand and arm, use your middle fingers to

,
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gently polish the back of your right hand and wrist. See Photo # 12.
• Feel the left hand swinging from the bottom of the thumb, way down near
the wrist.
• There should be free movement from all joints of the finger, thumb, and wrist.
3. Gradually narrow the motion so that the second or third finger pad settles into
one spot.
Photo #13
,-:'" r.. ,

#10: STRINGSHINS

Now we will move Handshine to the cello. With your thumb in fourth position,
polish the D string as in steps 2-3 of Swingercise #9. See Photo #13.

Let's Rap!

2. Rap Music
1. Play the following "Rap Tune" to Swinqerciee #8, 9, or 10.

j j j j j j j j j j
I've got a start on my vi - bra - to, Ot - to, look at me now; _ a -

~j j j
rap-pin' and
!J
a - rap-pin',
j ~j j j
a - flap-pin' and
n.
a - slap-pin';
I~ j j j ~j j j ~j j j ~
rap-pin' tap-pin', flap-pin' slap-pin', rock-in' roll-in', WOW!
"
Z. Make up and tap out your own Rap Tunesl

90(:0
8
#11: STICKYTAPS

Sticky taps is just like 'Tweentaps, with one important difference: magic super glue!
1. Put a drop of this (pretend) magic super glue on your third finger pad.
2. Now start 'Tweentaps, using the Toptap Rhythms. J = 60. Tap the following rhythm patterns 10 times each:
3 5 6

lA.ll:nJ ~:IIB·II:mJ ~:11c.11:~~ ~ :IID·II:JjjjjJ ~:IIE·II:Jjjjjj~ ~:11


3. Here's the magic part:
• On the first tapping of each rhythm, the super glue has no effect-tap as usuaL
• On the second, the glue works instantly, and you continue the tapping motion with your finger stuck to the
fingerboard. Notice how flexible your finger and wrist joints are.
• On the rest before the third tapping, the super glue magically lets go, so that you tap again as usuaL
• Continue through the 10 repetitions with the odd-numbered repetitions "unglued," and the even-numbered
ones "glued."
Now let's take your "magic super glue" vibrato on a ride to one of the moons of Jupiterl

g. Sunrise on Ganymede Piscbbacb-Frost


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4. Merry Maiden Waltz Lehar


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96CO
You may find that by now you have a functional, if young, vibrato started. Do the next two 9
Swingercises if you need just a little more help. They are also useful as an alternative to one or

succe ss for you. ~i~J]


more of the previous Swingercises; your teacher will guide you through the best pathway to

#12: THE WAWA


a
Some electric guitar amplifiers have "wawa" circuit-a sort of wild electronic vibrato whose speed the player
manipulates via a pedal. It works like a car's gas pedal: the more you push it, the faster it goes. The following
exercises, which work a little like a wawa pedal pushed to various speeds, are to be played with a metronome, first
without, then with the bow.
1. Put \rour instrument in playing position, use your legs and knees to hold it steady and secure.
2. With your hand in fourth position and the thumb at the crook in the neck, place your 2nd finger on B~ on
the D string. Now do a "Wawa": rock your arm and hand forward and back. The forward-back cycle should
feel like one action with a rebound. Do several more in a row, at a tempo that is comfortable for you.
You and your teacher may find it is better for you to do the Wawa with a backwards action and a forward
rebound. Eventually, we don't pay attention to whether the motion starts forward or backward.
3. Wawa with your 3rd finger, B on the D string. .
~ ~ ~ ~ In example (a) the higher note head represents the vibrato
a • U: W;:V;a,
----~ • ~ 1 I----~·
w;:V;a,~ 1 1 w-;W-a,
----~. ~ 1 1----~ «, .17 :11
w;:V;a, impu 1se, an d t h e 1ower note h ea d is t h e passive re b oun d .
Thus there are two vibrato impulses per measure, one per
b. lll: ~)j1j J1n hTI ~ :11 Sth-note beat (eight in ex. b).

4. Do the above with your first finger (A on the D string), then your fourth (C on the D string).

#13: WEEKLY WAWA

Now we will take our Wawa through a metronome acceleration trip that will lead us to vibrato's
doorstep in three weeksl
Week I: Record your progress using the Metronome Acceleration Checklist found on the inside back
cover. On each day of Week I, play the following exercise and song four times at each of the settings
indicated for that day. Note that each day starts and ends two markings faster than the previous day.
S. Waawaa )1 = 80 - 155 or 80 - 152
Play this finger pattern on all four strings.

7 ~tmtrJJtm 3 3 o,.,
4
1
0

o
I" 2
Ir r Ir r
6. Painting a Rainbow )1 = 80 - 155 Wohlfahrt Op. '38, no. 47
Play this piece using separate bows and also observing the dashed slurs.

~
@ ,.,
1 3 3 4
0'"1 3
__o_
3
-&
4
··
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4 0 1
"'-7'
2
I-~"", ,., ... - ... ___ - ... ---, , '..- *....
.....

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.... ... _- .....


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2 1 0 4
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·· ""
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..... I I I I .....
-- - I ....
--- ..,
to

Week II: To the following exercise and songs, continue the Week I plan. (See Metronome Acceleration
Checklist on the inside back cover) Notice that we are continuing with the metronome clicking half as
frequently. There are now two complete vibrato cycles per click.

1. Wawawawa J = 70 - 145 or 72 - 132


Play this finger pattern on all four strings.

~®f11jtmt0 3
1 CD~ 1

r r
-&

':1 0 Iff Ie IFF In I I


8. Ring Out the Old (Two-Part Round) French
The asterisk * indicates the time for the second entrance of the melody.
V
4 1

r
3 0
*j r
3
r IT
':1 f IF2 4
IF [ IF0
3
r=
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IF Ir rr IF Ir If :II
9. Jacob's Ladder Spiritual
Play this piece starting down bow ( ~ ) as well as up bow ( V) for further development of your
vibrato.
v 1

I r f'
1 ~

,:I e r IT' I r IT'

I
r f'
1

I
f f' I f f' , II
10. Squid Dreams Hohmann Bk. 1, no. 49
Play this piece using separate bows and also observing the dashed slurs.
~
1 •......-..... .......-..... .......-.....

® ~ 4
--
3
.......-..... .......-.....

..... ri ..._ .... ..- .....

11. Sven's Snowshoes Norwegian Folk Song


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I..
~: ~... "', .", ~ CD 1..'52 ~ ••, ••• '.', 4 1

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r ••• ,

401
rrtI 4
L I r r r Itt r tit t r t If
40144
L I r r F II )
96CO
Week m: To the following exercise and songs, continue the weekly plan as before, but advance the II
speed range only one notch from day to day. Again, see the inside back cover for the Metronome
Acceleration Checklist.
12. wwwwowl J = 135 - 180 or 120 - 180
Play this finger pattern on all four strings.
,..,

f~f~~
':1 - - I
.0.

19. Yorkshire Pudding English Folk Song


Play this melody using separate bows and also observing the dashed slurs.
,.., ,..,
3 3
CD
,..,
Ensemble 4

14. Moldau Mood (Round) Bohemian Folk Song


The asterisk
,..,
* indicates the second entrance of the melody.
4 24xl*4 23,

':1 J r rr IF rr r I r rio
3

Ir r I" I r r r r I r r r r I r r I" :II


IS. Sluggo the Singing Snail Hohmann Bk. I, no. 91
Remember: s n a \ \ s s\n q s\ 0 W \ ~ \
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_ ~ CD~ ~. ,
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- '" -fr ~ ~ ~ ~ ~

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16. Sad Sam's Serious Song Wohlfahrt Opt 38, no. 41

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...... I I '-_ ... ' I I I I '-_.' I I
12

III.THE DEVELOPING
The following tunes and exercises are fun to play, and they help your newborn vibrato become mature in several
important ways.

11. Go Tell Aunt Rhody Traditional


This is surely the saddest song ever written in a major keyl Use your widest, wobbliest, saddest
vibrato I
~
1
'5'
\V~ 0
1 Fine
,

tH f r F r Ir IT IFF I F r IT IrE r IIT IT IrE r r I L" t II


®~ 1 1 @~ 1 D. C. al Fine

..):I r E r Ir r I r r Ir r IT I IT E r Ir r I r r I F"
3 1
t II
18. Wauwatosa Wawa Wohlfahrt Op. 38, no. 34
Play this piece using separate bows and also observing the dashed slurs.

,. - - 1 0
4
•• ,. ,. ,
""" ·· -
19- ## ## tt::J
·
3 3 T I I I 3

®
~
2
0 ...... , 1 4 ...... , 0
~ ...... ,
2
,.
...... , 2 ,
2 - -
·· ::::: :::::
·
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~
I I I T

,
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•• I'!J 1i-1i- • • I'!J 'I'!J 1i-1i- I'!J 1i-1i- n
-
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~
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~ , ~ , ... 1 :::::......:::::, ,
··
1
- - 1 ::::: ::::: •• 1 1 ",".,
- - 0 1
· ..
..... I T

19. Pierre's Stairs J = 100 -112 French Folk Song

3
r r I r' ~

r r Ir r r
1

If" @fI t: ttl


E t= I r r Fir F r Iro II
20. Happy New Year (Round) J = 88 - 96
~ ....-- ....../* .--......
~ r....--~'.... ",--, ...-, _,,--...
,. E F r IIT
96CO
f I; f r IIT r I r r IE J r IF - - F I J. :11
13

Liszt

mp --========= == ======- v

,:e r r rt= 11== rE Ir·~r


t=
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2 v
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r Ir
r ~ ~ .....-...._
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--===== mf p

22. La Folia J = 69 - 72 Corelli


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thin t" V It f In r ttl' [ If E" V I


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4 ~ ~ t7\\n ~ ~

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~ 1 ~n ~..-.. 2 ~

rh n t" ~ I' [ If E" v Ir V fin t" 'I r II


---========== f

.2g. Gold and Silver Waltz J = 132 - 144 Lehar


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0. 2
p..------~ ~ e
=t
~ 4 0 1 2 .------~ ~ ~ .------
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IF r r IF' I ------
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1 x2
f mp
14

#14: WIGGLEDOWN

A new vibrato that works well in 4th position sometimes is confused at first in the lower positions. "Play" Sigh!
first without the bow. Notice the change in angle between the wrist and elbow. You may feel more weight at the
elbow in the lower positions. Continue to allow the lower arm, elbow, and upper arm to move freely.

24. Sighl
~ ~ ~v
2 -2 ~v -2 ~v -3 f:'I -3 ~v

rl I
f:'I

fOr
f:'I

fOr
f:'I e-
A.
':1
~

-1
I
.Q

If
~~
r
-1
I
e- B.~
II 4 -4
If
-4
I
.Q

II
~ ~v

,: § f1 4 -4 -4 ~v ~ ~v ~v
f:'I -1 -1
C.

-2
I
.Q

If f1 I -2
~ D. ~
II
1
~~
r
-3
I
f:'I
e-
If r'1"r
3
I
~~
II
2S. Pierrot's Basement Door J = 76 French Folk Song
Slowly play the first phrase of Pierrot's Basement Door (A). Create a wide, easy vibrato on
each note. In the fermata measures, move your hand back a half step, and play Pierrot again,
using the indicated pitches written in versions 8, C, D, E.
~ v
~ f:'I f:'I
x2
A.

':1 IT
1
IT I r r I
0

I
0

v
I IT r Ir r I IT
1 -1

'r II
~ v ~ ~
f:'I f:'I
V
f:'I f:'I f:'I f:'I
j -1 C. 1 -1 D. 1 -1 E.
B.
,: 'o#n 0 lI'r 1
Mr II 0 II 011
r r II" '0#11
II r !r IP,n 0
II II
26. Cellar Stairs J = 76 French Folk Song
Play this piece using separate bows and also observing the dashed slurs.
~
2 ...... __ ....
-'" - ....- ~1 ...---....
- ~ 4 ...--- .........
;
02
f f f Ir
~h&~1 rr Itt t I r' Ir r r I r 4 simile
r r I
®7 x2 4 1

r r I r' Ir r r Ir r r Ir r r
1 x2 @t ~
2 I 3

r r I r F r I r' I
4
r r I r r r I r r r I r'
2 xl 4 2 xl
II
2'1. Where is John? (Round) J = 92 -100 Smetana
~

eJ
2
j r * r
,: j& IF J J F IJ J
2
<J Ir
0
r I
F r Ir F F 1° 1° I :II
15
28. Blue Bells of Scotland J = 84 Scottish Folk Song
VI 34 V 1 34 v
2 ~ 4 1 ~ 3 4 1 1 2 0~ 4 1 ~ 3 4 1 1 1

thb&eFIE rrlL rChrumlr' FIL r:rILrU:lrFFFI~' FI


mf p 4

2 V 4 3 4
® 1 4 ~ 1 ~ 1 1 3 @~ 4 1 ~ 3 4 1 1

:hbbF F r r: IL r U:I r: r: PmIL r r: I L r: r IL r


--====:: f If
Ch r F m Fir' II
29. Southern Roses J = 104 Strauss
01"1 _-----
I Fe r t o
3 r------

Wohlfahrt Op. 45, no. 15

1"1
1 x2 4
_0 .....-- .....@3>2

r.
I _·r I «2 IFF
~'~ ~~»

f
Ir 2 ~ ltd
>~
J t t II

gt. Midnight Special Blues J = 104 Unknown

,
16
IV. THE MATURING
In this section, your vibrato will develop agility, quick starts, and the ability to move through slurs and shifts.

#lS:~~TOBtnRSTS
These variations on a one-octave scale are intended to give your vibrato a quick start, and to speed up a sluggish
vibrato. Each day, choose a different key and different position. In variation A, lift fingers slightly during the
rests or in between quarter notes. ()., and J
mean the same thing here}. In Variations B through D, "zap" the
vibrato on the accents. J = 60-80 for all variations.
Andantino burstino Adagio burstoso
A.~ B.~ v C.~ D.~ v

J ' J ' J ' J ¥ I J J J J II J J I J J J J J W J J J II


,: 'I

g2. Star Bursts


> > > > > > > > >
--- ---
> > >
II W> W> W> W> II W»»»»
....___........ ..._......._....
Folk Song
Play Star Bursts using variations A through D from Swingercise #15. F'
~ 1 1 me

':'i Il ~
~
r IFF Ir r IFF i' , Ir r I' , I~ g II
(2)1 1 '1 1 D.C. al Fine

,:1# f riff ff I g g I, '1r r I, , I g g I' , II


gg. Duke Bursts Repetizione ad nauseum s = 88 arr. Fiscbbach-Frost
~ v
,:
> > >SI
~Ill' I P , P , P , ijI Jl, Jl, J1, ~ I J~' J~'J~'JqJ I J, ), J, ;5
'" 2-
2
~
:11
> > > ..... > > > ......
' > > >

gs. Vivaldi Goes Ballisticl J = 66 Vivaldi


Accent vigorously with the vibrato and the bow.
v 1
0> > > > > ~ > ~ >

':~IP Ie L e L It rft rflt


f

tJ:~Ei U It L t slmde
L Ibe Cl C
::::::=-
r
,:~r r r r c'
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16 f r~J r r Ie r _.C c~ rv@IE;J=~~
ad
CJ IE :11
#16. WIGGWOBB 11'
(CONNECTING NOTES WITH VIBRATO)
ss, Wiggwobb Waltz Fischbach-Frost
Play Wiggwobb Waltz in various octaves, positions, and keys. For every two slurred notes"
have just one continuous vibrato.
Tempo di wiggwobbJe J = 88 - 104 '5' J n

r l Fffi l m t ru t (IE l C Ir t ric l r I[ l [ I


,.., x2 1"" \::V ~ ",---... :..--.... ~

fhbb I
4@3
®~
!hb/ t
::--.. ::--..
r Ir t r Ir t r Ir t fir
~,..,
t ru 4

t §dEft l HI
g'l. Graceful Skaters Waltz J = 104 -116 Pischbacb-Froet
Imagine a graceful skater moving from foot to foot on every downbeat, weight and balance
shifting smoothly. With your vibrato, do the same from finger to finger. Pour the vibrato
from one finger to the next, so that it doesn't stop between notes.
,..,0 ~ ~ ,
,..,
..-..
r IF
..-....
r I'r rTF f If r ICII
® 2 @
r;.-_
71: ~b& F r Ir II

I II
w p ~
g9. All Through the Night J = 96 Welsh Folk Song
,..,
1"'1 2
,0~ ~ rr-:
r ~IF' ~rC I r ~r11E r ~I r· l I
~~ ~~ l~ l~,

,: ~b IC' ~ r r I r ~r=r I E tiC·


p
1"'1

®~
2 1 x2
~g~g~ -:'"'\~ 0~@~~
..;-'\ 2 2 1"'1
~~
r [ =I f r If r r r I r w C ric· ~r C I r P r r IE r ~I r· t II
l~

71: ~& [
mf P
18
#17: THE SHIGGLE

40. Shiggle, Shiggle J = 56 - 60 Anderson-Frost


Keep the feeling of vibrato going through the shift. Finger pressure should be as light as
possible, especially during the shiggle (shift/wiggle).
1 1
,,1 1 1 1 1 1 1 <D"
1 1 _1 rJ ~ ,...-:;;
~"'"'\
~:fl=iJJJIJJJJI4]OIJqplnr1IFFrrIFr=rlr
~ \....!! ~\....!! 03 2 02 2 2
r I
o 3

®~ r~ r? ~ 3 3 3 3@.., 2 2 3 3 2 I

~: E = FIE E r F 1 (t ffl
1322 2
oq f :)1 .g J J 1 J J J J 1:±J J =iI:± 3 II
1 3 -._; IV \..::!! ~ ~?J ~
3
FROM: AU FOR STRINGS - BOOK 3 © 1990 Neil A. Kjos Music Co.

mf -=== f ::::::::=-
44. To a Wild Rose J = 58 MacDowell

r in r r'-'~
" 1"2 2

~:~I uri tf F 1 EJ air 1 i j 18 F 1 't 1

P f
96CO
48'. StilL StilL Still J = 80 Traditional German
'4r. 1 1 1 3 00 1

~Jer F
p
f]1 J @I r OJ
~
49I J r I r
~
tJ r r IF OFF I
®}4 1 1 1

~}!rarrlrOFrlrFf]IJ
p ~~
@lrBJ49IJ W
til
96CO
10
V. THE ARTISTIC ~ _
In Part V, you will increase your expressive control, and to learn to think artistically in your use of vibrato.

#18: VIBRATO SWELLS


To various one-octave scales, start measure I with almost no vibrato; increase vibrato intensity to rnaxirnum at the
beginning of measure 2; decrease to measure 3; etc. Use the following meters and note values. Try each variation .
starting up bow ( ,., ) as well as down bow ( V) for further developrnent of your vibrato and tone. J = 60 for all variations.
A. r"I V B. r"I V

,: '# t 0 I0 I II I II 11'1 r' I r' IF' IF' II


~~~~ ~~~~
C. r"I V D. r"I V

fl't F F IF F Ir r Ir r II &1,£ J IJ IJ IJ II
simile simile
Tchaikovsky
3
®~ _~ 0 0 ~ ,..__

Ir r F r I EtT'E IE r F r I

rr
t_ 1 1 4

p .._... f
I j IJ J J J I iJ J II
SO. Dolly is III J = 66 Tchaikovsky

!
r"I r"I
r"I
4

~)=&1, £t
45~ It :E I t r
1 r"I

r
- o
~ #f It r It r I
V

It It It
mf< -=::::::::::: -=::::::::::: simile
r"I
3
> @~ 4
> > > >

r"I
IF IF 1m
r"I
IF Ir I'IT :11
4 3 4
1 1
@
,: &1, t ~
It
#f It r It
r @
It
~
It #f It nit n
cresco
r"I
f
4 2
- 4

r r ® r"I 3

96CO
~
It
dim.
f It It It r It r It
pp
F J7fr II
#19: SPESDWIDTHERY

To various one-octave scales, manipulate the vibrato width and speed as indicated. Try each variation.starting
up bow as well as down bow for further development of your vibrato and tone. J = 60 for all variations.
r"1 V r"1 V

,: ~&I' I II I II II Mqq II I n Ie Ie II
Width
a. b. moderate
Speed ~ fast-------. ~fast-------'
slow slow
Width
C. Speed ~ -------. . .i->
d.
-------.
St. Dolly Diedl Wohlfahrt Op. 38, no. 98
~
Melody

··
'4
no .. e- .... ~ -~ - ~ ~

p sf p sf
r"1
Ensemble I r"1

··
'"'.....
® r"1
no .p. ~
e-
- ~ ~ ~ .,. @~ ~
I

··
p f
4 -
= ",.. -=:::::: :::::=- p=--=- ppp

··
r"1 e-/ 1r"1
.0.
-
~
Handel
1 x2 4

air·
2 1 4 2'5' 1 ~

Ir r r r r I
> 3

If r 3

cal
r"1
2 1 4 2

mf 1 --===== elL
V 3
e
r r r I r·--=====
4 ~ ~I

I D F I t=

=~~r
mp f mp===- p
4 V 3

r
4
I~ ~ §@§
~
t: I t:
~
!:: I

96CO
22

g!. Santa Lucia J = 100 Neapolitan Boat Song


03 3 3 2 1

mf-p
IJ r rim qd

~:I
4

J J J I
3

r r =:111:F r r I r
2x
®~

mf-f
4

e 2

~ ~--------~~------------
@~ 4 0 1 3 1. 1 2,} 3 _ 4

0 IqB r
t:\

~:I tr 9 I§ r' P Ir r :II! r- P Ir rill


S4. Sunset in Vienna J = 120 Frost
o
~
} 3 ~ 0}
o@
(it- r' 7} IF
~:II
mp
fR Fill
~
cresco

4
t (J1
~ 11.
cresco
fI
~:1fE-)It ~&2 ~ ~~2 ~ ~

f
If ~ It
p
If ~ It
f
r If
~~
I

.......... }

2:' t
At II
SSe Silver Threads Among the Gold J = 69 Hanks
~ ~

~:~~
~~1 ~
eL V
fL'
1~}3

t r tLl t
3
0r I r3,-,)? 1" 32}2}
r'
DC E t E IE it' vault r I 't
Y--- 3
23
S6. The Swan J = 58 ®v Saint-Saens
3...-,.

11,2 - I p ra fEN I f5fJ r t iJ


4~1 4 2 2 I

U(FCCC£lf V'Ii i i

a tempo

I
4
-&·-----r·--rr
I t: ~¥ ttl
t:\

- II
tf ' 1 1 4 2 rit.

S7. Austrian National Anthem J = 72 Haydn


,_tI
Melody

··
V
~
. .~.--;. ::"""'\ ~.,.. ~.- ..'
2
.p.
.
~5~
- '. - ~~
. 4
::"""'\ ~.,._
mp 1 4 2
Ensemble
V ~ ~
·· I I

nap I - I I
""
I

p mp ml .:::::::.1
V V

p mp ml .:::::::.1

<I

<I ===- nap


96CO
24
SS. Piccolo Caprice J> = 108-144 Paganini

mf ======-- p
Metronome Acceleration Checklist
This checklist is designed especially for use with the exercises and tunes related to Sttiml~~.rue#13, P2,gcs 9-nn_

Traditional (keywound) and some electronic metronomes have specific notches for tempo selecnen, :M~~!~E~tan
metronomes have done away with the notch concept entirely, and permit you to select any specific D'lLlmh:Lr mHxa'!S
per minute. Use Checklist A if your metronome is digital. Use Checklist B if you have a metronome \\ibf.:& !.o:~sot
mechanically to traditional notches.

Checklist A ChecklistB

if Day Settings Iif Day Settings

0 1 )1 = 80 85 90 95 0 1 )1 = 80 84 88 92
0 2 )1 = 90 95 100 105 0 2 )1 = 88 92 96 100
0 3 )1 = 100 105 110 115 0 3 )1 = 96 100 104 108
0 4 )1 = 110 115 120 125 0 4 )1 = 104 108 112 116

0 5 )1 = 120 125 130 135 0 5 )1 = 112 116 120 126


0 6 )1 = 130 135 140 145 0 6 )1 = 120 126 132 138
0 7 )1 = 140 145 150 155 0 7 )1 = 132 138 144 152
0 8 J = 70 75 80 85 0 8 J = 72 76 80 84
0 9 J = 80 85 90 95 0 9 J = 80 84 88 92
0 10 J = 90 95 100 105 0 10 J = 88 92 96 100
0 11 J = 100 105 110 115 0 11 J = 96 100 104 108
0 12 J = 110 115 120 125 0 12 J = 104 108 112 116
0 13 J = 120 125 130 135 0 13 J = 112 116 120 126
0 14 J = 130 135 140 145 0 14 J = 116 120 126 132
0 15 J = 135 140 145 150 0 15 J = 120 126 132 138
0 16 J = 140 145 150 155 0 16 J = 126 132 138 144
0 17 J = 145 150 160 165 0 17 J = 132 138 144 152
0 18 J = 150 155 160 165 0 18 J = 138 144 152 160
0 19 J = 155 160 165 170 0 19 J = 144 152 160 168
0 20 J =;160 165 170 175 0 20 J = 152 160 168 176
0 21 J = 165 170 175 180 0 21 J = 160 168 176 180

Note: If things seem to be moving too fast, just stay at a comfortable step for a couple of days, or experiment with smaller
moves as you advance the metronome (for example, 144-146-148-150 instead of 144-152-160-168). Artistic vibrato speed
is attained at about J = 180, or 6 cycles per second. Although vibratos sometimes go as rapidly as 7Yz cps, it is not very
useful, and can be damaging, to push this routine past J = 180.

seco
Viva Vibrator is excmng, innovative, and revolutionary in its approach to
teaching vibrato. There has never been anything like it before. Its upbeat style and
dialogue, and contemporary design, gently guides students through a five-section
curriculum: Vibrato Readiness, The Birth of a Vibrato, The Developing Vibrato,
The Maturing Vibrato, The Artistic Vibrato. All teachers of string instruments
will find Viva Vibrator user friendly, whether in a private studio or in a
homogeneous or heterogeneous string class.

Viva Vibrator is available for:


Violin Viola Cello String Bass
Piano Accompaniment Teacher's Manual & Score

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- -

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-

IVvS