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    Nata Carrillo
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    © All Rights Reserved
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    208 views15 pages

    Basics Vibrato Exercise

    Uploaded by

    Nata Carrillo

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 15
    Whether you have an arm vibrato or a hand vibrato, iit helpful to practise both types sincs each contains slements of the other Occesionally play vibrato exercises with the roll resting against a wall (whe para 0008) a brake on the vibrato. The more the joint is allowed to give, the wider and slower the vibrato becomes It is important not to play with the ‘brake’ set in one position, all the time ~ itis always changing according to the vibrato requized. The ‘brake’ should rarely be completely on or completely off Bend and straighten each finger at she first joint. Either bend the finger tet on its own,oFuse the hand finger ro bend the joint. Note chat the angle of the vibrato into the string is diagonal to the string, finger on the string in its normal, curved shape (Fig. 492). Straighten the finger from the riddle joint to the tip Fig. 490); bend again, straighten again, ete. Make the movement quickly and loosely. (@ Beein with the finger resting lightly on the surface of the strine. While hendine on arratehvenine Anno Lene l Fiexibity ad no Sow Touco-PaUASE NADA 20n0| copa Fig. 50 Base joint Play without che bow “Lite the firs joint. the base joint also sets as a brake on the vibrato if ci prevented from moving. The ews! amount it moves may be so litle as to be invisible, but if itis not able to move at all the whole hand may become tight. swell Press and release the string, a in the exercise above, but tis time move the base jit in and ou 6 the first fine ‘Begin withthe fingerip resting Lightly on the surface ofthe string (Fig. 508). ‘* Move the finger atthe base joint by pulling and pushing che knuckles out and i ©The finger sraightens slighty as you poll he knuckle asa from the neck of the violin (Fig. 50). The finger curves again as you push the knuckle back in (Fig. 508). © While moving the knuckles out and in, gradually pres dhe finger harder and harder into the swing) ral presing vo the manimum, Then gredualy release agzin ro the surface ofthe string, still moving the uebles in and oot Pulls oF Fingerp lghly on we sing be ie heavier, ee ~ lighter liter, et [Repeat with each finger, in various positions, on each string SOOSHHOPSVEIUEEEEDVEOHUOUEOHS ay Stl n-th exercise, Hand and arm Sliding exercises movements lay with or without the bow. Keep the fingers relaxed, without squeezing together, and ‘ouch the neck with the dhumblas lightly as possible. Exercise 1 Play each bar as fast as possible. The idea is to begin with a large sliding movement up and dowrn the string, and gradually to make it smalier and smaller unti it becomes the width of a vibrato, The actual notes need not be exact: you can make the siding movement smaller by quarter-toncs, © Bars 1-3 Begin with a large sliding movernent (using the arm or hand), and reduce the distance ‘gradually, Move che thumb as well asthe hand until the movement is very small, then keep the thumb in one place while only the finger sides on the string. © Bar 4 When the sliding is only a guarter-tone or so, gradually fix the finger om the string so thatthe fingertip rocks to and fro without sliding The backward movement io written as © Bers Using the same hand or arm movement as in bars 1-4, play a very narrow vibrato, the finger rocking without sliding. aa ap Sa Fiz. si 8. Exercise 2 ‘Alternate berwoen 2 semitone shift, in which the fingertip slides on the string, and a vibrato movernent ‘© First bar: Shift lishls. Keep the thumb in one place as the finger sides. © Second bar: Vibrate (without siding che finger on the string) using the same arm or hand movement as in the frst bar, The xenotes represent the backward movernent of the viorato, which should not be hheard. Keep the joint nearest the nail vs. meee! ————— ss Paes eae a Bg ie pie hep eptaET pe : a st = SS ea esa333 3——— «acaeaaa © Hand vibrate Move the hand up and down the string from the wrist, without actively moving the arm. Lead the ‘movement with the finger Arm vibrato Move the arm and hand together. Although the main movement is from the elbow; keep the wrist very relaxed. Lead the movement with the finger. Play on each string. Tapping Pay this exercise witout the bore ‘Piace the base of the thumb along the top rim of the violin (Fig. 52). Place the pad of the thumb in its ‘usual place for high positions, et the top ofthe violin neck. Do not move the fingers thernselves the hand up and down from the wrist 1 Tap the fingers (all four at once) on the violin table tothe lft ofthe fingerboard. Tap eapidly in fo leaving the finger down on the fifth ran. Senne ji and and atm rrevement Wall exercise ® Stand with your left forearm a gains 2 wal ‘© Rapidly move the hand backwards and forwards, from the west, without the forearm coming away ytisT only (fom the wall, Steady the forearm with your right hand (Fig. 532) \, © Make the same movement, but moving the whole forearm from the elbow, the hand and forearm Foéener” \ moving infone piece) ig. 536), ee a? Forearm rotation oes — .@ 11 Turn the forearm anticlockwise s0 that the palm faces away from you. Then turn clockwise beck again ! Tana ane arm mowenente @. Exereise 3 ~ Thumb Pardy as a result of forearm rotation, the thumb moves in the opposite dceetion tothe Singer. This is _npver an acuve conscious movement but when the finger vibrates forwards the thumé moves backwards, ‘and vice vera. TRI movement is a slight raling on the ne violin: a faction more of the let side ofthe thumb (ite side furthes: ftom the plaer) touches the neck when the finger vibrates forwards (cowards the brig), and a fraction more ofthe pad touches the neck when the finger brates backwards. “The moverent i so sight as to be almost invisible, but if i is blocked the vibrato mar become[ease] 3 Its just as much a part of arm vibrato as of hand vibrate “The s-notes represent the backnard movement ofthe vibrato, which should not be heard. Sarees rn cneey emo oscar ig SomincneseetW. mNce BOF oR OF OR OF wtoncnomally Santee ‘eres Sea enna = ‘ora normally pope omen sures Me @ Using e normal hand or erm vibrato moveraen, roll the finger forwards four times, ina firmly dotted eerrere ” nyunm. At ihe same time, roll the thumb in te opposite diecion gener tt ESSE On the next forward movement (the fifth), make a normal arm or hand vibrato, i. Soe forward, forward, forward, forward, forward-and-vibrate || eee forward, forward, forward forward, frwani Spmcmes ind-vibrate, et. (© During the notes with normal vibrato, feel how the vibraro seems to be powered from the fingers 28 teene verter much as from the hand or arm. seen Repeat wih each finger on each sting. | seam Releasina to a harmonic Fig. 54 ‘The finger in its forward, into-the-note’ position The finger rolled back, releasing the string ut gon! ‘Swinging’ the hand in arm vibrato (oo nar x ge Ths movement ofthe am im anm bat, cases a pani movement inthe hand. There 902618 woviiarro Banal movement, but an amore Backwards-and-orvarde movement inthe opposite drexon tof en Ifthe forecrm and hanti move a8 one unbroken unit, this tends to you have to work much harder than necestary. in arm vibrato someone tries to prevent you by holding the foresrm firmly, just below the wrist |) OU Seace ra of de hand mesenn ian esti meen. ‘Without the violin, hold the left arm in playing position, palm fecing you (so that ifyou were plying, the ourth finger would not be able to reach the E string). ‘Using a movement!ffom th 1 produce slow and wide vibrates, and) guacx itis possible 10 continue vibrating even if Im this exereise 1m) loosely ‘swing’ the hand ‘Swing the hand backwards and forwards. Ifyou really allow the hand to go floppy, fn che arm produces a large movement in the hind, 2 Swing the hand from side to sie, as though waving to yourself 3 Swing the hand in circes, 8 small movement lockvise and anticlockwise. Relax che fingers, hand and wrist, and let a small circular movement in the forearm produce a large circular movement in the hand, Vibrating harmonics '@ Alternate between harmonic and a

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