Vibrato - Help

Spalo

I was listening to myself playing recently and I wasn't very happy with my finger vibrato.

Has anybody got any suggestions / exercises / resources for improving this technique?

SP

spatzo

Hello Spalo !

My definitive suggestion is "Those good vibes" by Hal Zeimer, I do not remember (of course) where it had been edited ...

Anyway it's just a question of time and your vibrato will grow better and better ... :shock:

A+

Phil

Very good question. It took me a while to realize what vibrato was and what an added effect if can give to your playing! I've found listening closely to the distinctive sounds that the different GJ guitarists have when utilizing their own individual vibrato techniques and closely observing others is helpful. Check out Bireli's techinque on his DVDs and listen to the amazing vibrato that Jimmy Rosenberg has as well as Anrdeas Oberg... especially on his Hot Club of Finland CD!

I certainly find it easier to use vibrato on the slower ballad tunes.

Cheers,
Phil

A.K. Kibben

Spalo,

Vibrato on the guitar is quite a different technique than it is on a fret-less instrument such as a violin or cello. I grew up a classical trained cellist and contra bass player before I switched to the guitar. I realize now from your post that it gave me the ability to use vibrato easily. Second nature. Now I see that it may be difficult for others to execute. I will attempt a tip on how I incorporate vibrato on the guitar and the differences between that of fret-less instruments...
On a fret-less instrument the note is rotated back and forth, or have you be, up and down. From the attached video clip (Cello) you can see that the left hand shape and how the thumb is planted on the back of the neck makes this possible. It is similar on the guitar, except because of the fret not allowing any pitch change up and down, you must use a slight bend an equal distance side to side. A short bend in both directions. I don't think many players would have a polished vibrato if they didn't plant their thumb behind the first or second finger (or there abouts) with their hand in a shape similar to holding a tennis ball. Left hand position would be very important in smooth effortless, equal pitch change in both directions.
I understand this "planting of the thumb" behind the first / second finger is unlike the left hand position of wrapping your thumb for chord shapes.
I will be looking at videos and the technique that other players and gypsy jazzer's use. You have sparked my curiosity with your great question.
Maybe my past training and has limited me in developing a comfortable thumb wrap on some chord shapes!
Fear of being hit on the hand with a baton!
The guitar has often been referred to "the lap piano"...
With vibrato, I'll now call it "the lap cello"...
Great post and I hope this helps. Here is a video of a cellist demonstrating vibrato. Maybe it will help you understand vibrato a little better...

http://www.youtube.com/watch?v=ledHYS70-Po

A.K.

Ken Bloom

When I was very young my sax teacher had me do vibrato exercies using a metronome. I would do two "wobbles" per beat starting very slow and working my way through every increasing speeds. At the very slow speeds I could concentrate on getting all the mechanics perfect. As the speed gradually increased I managed to retain a lot of control. I did the same on guitar years later. Since I had already done this on one instrument it made it very easy to do it on the second.
the trick is to start so slowly that youcouldn't possibly make an error. Hope this helps.

Spalo

Thanks for that - plenty of food for thought.

I feel like I'm ok with a slow, almost blues-like vibrato, but what I'm working towards is the faster 'wobble' you can hear in a lot of GJ

SP

bbwood_98

I saw this thread today,
does anyone else let go? for a quick small shake- to just slightly lift the thumb of the guitar, and shake basically from the elbow- this is not for long notes, but seems to do alright by me for med. stuff. kens advice is amazing, do that!
Cheers,
B/

Duozona

Here's some perspective from a classical aesthetic: consider the two main aspects of vibrato, speed and width. You can even think similar to a chorus effect. Basically, you want to practice the 'speed' by oscillating (vibrating) a note to different rhythmic patterns, yes with a metronome, something like 1& 2& 3& 4& 1e&a 2e&a 3e&a 4e&a

and so on, triplet patterns, sextuplets, and greater subdisions, so that you think of vibrato rhythmically. Then listen to your width, how sharp/flat you make the pitch by going left-right between the frets. And yes, left right, or lateral vibrato,between frets does adjust the pitch sharp and flat. That sounds different from a wrist twist vibrato, the rotational vibrato, where you bend the string actually, so like a tremelo that goes sharp and back.

vibrato is also used as an accent, applying vibrato to certain notes in a phrase to create rhythmic interest and shape the line.Timing of course is also a factor, a fast 16th note line leaves less time for vibrato and calls for a different approach then a half note chordal line.

Vary your use of slow wide vibratos or fast narrow vibratos, and listen to how they make tones sound more or less anxious etc..i.e. play musically and with vibrato that makes sense to you and to the feel or mood of the line.

In addition to guitarists, definitely listen to great violiniists/fiddlers, singers, horn players etc. listen their use of vibrato and the variety of approaches.

Hope that made sense.

Chuck

http://www.myspace.com/deserthotswing

Ken Bloom

This all great advice. What my early training has allowed me to do is to be able to match vibratos with the violin player that I'm playing with. What Chuck said about speed and width is really the ticket. You can shape a note by varying both of those. The trick is being able to control it. That's where the metronome is wonderful.