Books › A Practical Guide to Violin-Playing, 1913 › scan 107
Scan 107
A Practical Guide to Violin-Playing, 1913
14 lines. Read by computer on 3 September 2026. Printed page 89. See the scan on archive.org.
1CHAPTER XII.
3"VIBRATO."
5In Grove's Dictionary of Music and Musicians the following definition of Vibrato occurs:—"Vibrato in music for bowed instruments is identical with the vocal 'tremolo,' consisting of a rapid change of pitch brought about by quick oscillation of the hand while the finger is stopping a note, and producing a trembling sound or trill. It is strange that vibrato on the bowed instrument is the tremolo on the voice, while the tremolo in instrumental music (the rapid reiteration of the same note by up and down bow) more nearly resembles the vocal vibrato. When the vibrato is really an emotional thrill it can be highly effective, but when, as is too often the case, it degenerates into a mannerism, its effect is either painful, ridiculous, or nauseous, entirely opposed to good taste and common sense, and is to be severely reprehended in all students whether of vocal or instrumental music.
7Hard and fast lines in matters of expression in art are difficult if not almost impossible to draw. Cultivation of taste, observance of good models and especially the true and unbiassed analysis of the human feelings must be the guides as to how far these two means of expression are to be used."
9Notwithstanding the fact that it would be impossible to improve upon the eloquence of the writer of the above passage, who has so charmingly described the subject of our present chapter, the Author would like to say something from a practical point of view.
11One of the greatest drawbacks in 'vibrating' is the use of the forearm instead of the wrist and fingers only. To obviate this only too common fault the present writer suggests that the palm of the hand should be held very firmly against the rib of the violin in the third and higher positions, thus making it impossible to set the arm in motion from any other source than the wrist. After having gained independence by these means, the student can proceed to the lower positions, always, however, keeping a watchful eye upon the necessary restfulness of the forearm.
13It may be truly asked whether there is any other accomplishment which will compare in difficulty with a 'vibrato' carried on from note to note in a purely 'cantabile' phrase. It is perhaps the last stage for a player to reach and can only be attained when the suppleness of the wrist is under
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