@Buco Yes, that was my point of the video, stressing that it can (and should be) practiced intentionally, although generally there's a tendency to focus on it so much. And also, once you have a general idea of how, it gets easier to incorporate into the flow of practice
Seems like people talk about "finger vibrato," "arm vibrato," and "side-by-side vibrato (usually called horizontal), but I also see WRIST movement -- as contributing to "finger vibrato," or even as yet another form of vibrato.
I believe that violinists use arm, wrist, and finger methods of vibrato, but I don't see guitarists talking about the wrist.
Also, the thumb seems to factor in -- for some people it locks up at the top, maybe a couple of frets back, and the hand/wrist/finger pivots off of the thumb.
Absolutely valid points, everyone should develop their take and see what's most important to them in finding the right "way", thanks.
Jangle_JamieScottish HighlandsNewDe Rijk, some Gitanes and quite a few others
edited September 13Posts: 256
Another thing I've realised makes a difference for me is the string gauge and scale length. I get good vibrato relatively easily on my Di Mauro 640 scale strung with 10s, while I struggle a bit on my Dupont 670 scale with 11s.
Teddy, could you clarify what are you calling "horizontal" and what are you calling "vertical"?
I would have thought the Django way was "vertical" i.e. perpendicular to the neck and parallel to the frets. The violinist / classical guitar way is "horizontal" i.e. parallel to the neck, perpendicular to the frets.
The vertical way, more common in GJ, only sharpens the pitch whereas the "horizontal" way flattens and sharpens around the fretted pitch.
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So strange, I just hit copy paste but somehow the link doesn't work...thqnks for the notice
@Buco Yes, that was my point of the video, stressing that it can (and should be) practiced intentionally, although generally there's a tendency to focus on it so much. And also, once you have a general idea of how, it gets easier to incorporate into the flow of practice
True! @JasonS
@Jangle_Jamie cool, I hope it can help! Nothing wrong with the side to side vibrato, it's in my opinion a great 3rd variant, I wouldn't lose it! :)
Seems like people talk about "finger vibrato," "arm vibrato," and "side-by-side vibrato (usually called horizontal), but I also see WRIST movement -- as contributing to "finger vibrato," or even as yet another form of vibrato.
I believe that violinists use arm, wrist, and finger methods of vibrato, but I don't see guitarists talking about the wrist.
Also, the thumb seems to factor in -- for some people it locks up at the top, maybe a couple of frets back, and the hand/wrist/finger pivots off of the thumb.
@Jangle_Jamie
On another note, someone get that man some shims!
Well, he is in his mid 70s so I'm guessing his hand strength isn't what it once was and arthritis may be a factor as well.
Absolutely valid points, everyone should develop their take and see what's most important to them in finding the right "way", thanks.
Another thing I've realised makes a difference for me is the string gauge and scale length. I get good vibrato relatively easily on my Di Mauro 640 scale strung with 10s, while I struggle a bit on my Dupont 670 scale with 11s.
Teddy, could you clarify what are you calling "horizontal" and what are you calling "vertical"?
I would have thought the Django way was "vertical" i.e. perpendicular to the neck and parallel to the frets. The violinist / classical guitar way is "horizontal" i.e. parallel to the neck, perpendicular to the frets.
The vertical way, more common in GJ, only sharpens the pitch whereas the "horizontal" way flattens and sharpens around the fretted pitch.
I think Django rolled the tip of his finger parallel to the neck did not push it across the neck parallel to the frets.
youtube.com/user/TheTeddyDupont