JAVS Summer 2001

VOL. 17 No.2

22

}OURNAL OF THE AMERICAN VIOLA SOCIETY

• Fingers should feel as they do when dropped into a soft palm. Each finger drops onto its own tendon and the hand rebalances as needed. • The base knuckle of the index finger should always be free. The segment of the finger near est the base knuckle should only brush lightly against the neck. Avoid pressing against the neck. • Note that the finger furthest from the vibrato finger should be the most relaxed, and as a result will have the widest range of motion. • Warmer deeper sounds will result from exploring the lower part of the pitch oscillation. If your vibrato needs a deeper sound, feel the backwards swing more. • In the vibrato motion, a balance between forward and backward motion is essential. However, the initiation point of the vibrato motion is the forward swing. Thus, vibrate towards the bridge, not away from it. This is especially useful for the little finger. • The angle or direction of the motion in the fingertip is key to determining the sound of the vibrato pattern. It is difficult to achieve a good-sounding and well-defined vibrato pattern when the hand, in relation to the neck of the instrument, is too squared or too open. The best-defined vibrato results when the direction of the finger motion is accomplished at an angle to the string. See the figure below. M THE ExERCISES I. Hearing the vibrato Angle of the swinging motion of fingertip in relation to the string Use the following excerpts to test your ability to hear the vibrato you want in each phrase before you play. Imagine you are in your favorite hall. Listen to the quality of the vibrato, as if heard from the back of the hall. Note the difference in quality of bow sound and vibrato required by each of the two excerpts. Listen for the type of vibrato pattern you would like to hear in each excerpt. A rounded pattern can be achieved with even speed toward and away from the bridge. A pulsed pattern can be achieved by faster speed toward than away from the bridge.

Example 1. Schubert, ''Arpeggione" Sonata, movement two opening

Adagio

V

3 ' 1 Jtr 1 t· 1 Til] 1 (1Jij 1 Jtr 1r 1~r1IU 1r 1 p 3

liB~~.~~~~~ 3

Example 2. Brahms, Sonata Op. 120 No. 1, movement one opening

3 QJIJ J

f