Vibrato advice from Gary Karr
 

Here's the answer Gary Karr gave Richard Prowse regarding developing good vibrato: (Thanks to Richard Prowse - Richard, let me know if this needs to be deleted or changed)

Question (from Richard Prowse): I have a question regarding vibrato. I find it hard to maintain a successful vibrato as I prepare to change fingers (or positions). I seem to tense up a bit. Any help on this matter would be appreciated.

Answer (from Gary Karr): When vibrating it's important to keep you arm from hanging down (it should be on the same plane as your hand and wrist) and your wrist must have the inclination to bend outward. The thumb should be in the middle of the hand and close to the vibrating finger ( I'm not an advocate of holding all the fingers down for the fourth finger). The best exercise for vibrato (found in my books) is a simple two octave scale up the G string. You should be able to do four consecutive major scales (A, B flat, B and C) using only one finger but repeating each scale four times using each finger alone (1st, 2nd, 3rd and 4th). Slur the first two notes on a down bow and then repeat the second note on an up bow (ie. A-B B, B-C C, C-D D etc). Stop when you feel tired, but build up your
stamina each day so that it'll eventually be possible for you to do all
16 repetitions (variations). The exercise should take a minimum of 20
minutes NON STOP!!

I've been using this exercise for the past couple of months now. In addition to the vomit exercise, it's making great changes in my shifting technique, as well as ability to use continuous vibrato.

I'm not good at sticking to the scales, though, my ear always wants to hear altered intervals and chromatics . . . oh, well

Stan, I've got to admit that I haven't been doing these exercises lately because I'm going through a non-vibrato period, but...
I believe that you should try to keep the routine as near to what Gary describes as possible.
Hey, don't under estimate the importance of major scales! The whole western system of music is built around them, in my opinion (IMO).
Music is like night and day.
It's these diatonic scales that provide the stability, or contrast, that makes altered scales and intervals sound so good.

Huh? This threads still alive?

Thanks for the advice, Prowsey - I have been doing my major scales now, thank you very much. I went through a dark period where every note became a different step of melodic minor, or that stinkin gypsy minor you were talking about. It's passed, for now.

FWIW, this exercise does help with the physical aspect of "carrying" vibrato across notes. I should start doing it every day again.

A thread on vibrato should always be alive, Haskey!
I have been wondering about vibrato lately though. Many 'Classical' players sometimes seem to have an automatic vibrato machine. Do they think about it?
The old story goes that when young Miles Davis went for a trumpet lesson he used vibrato. Supposedly his teacher said,
"Don't do that, when you're old you'll shake anyway."

I have an old LP by Leonard Bernstein called something like 'Jazz Explained'.
In it he gets Coleman Hawkins to play a tune with vibrato (which Coleman does beautifully), and then without. Coleman can't do it! He starts laughing and Leonard gets another player to demonstrate.

Vibrato machine
 

Yeah, I hear what you guys are saying about the vibrato "auto-pilot" - I've heard players like that. However, it seems to be more common with bass players that they can't peform "continuous vibrato" even if they want to (too much tension in the arm/shoulder/wrist, I guess).

One thing I've been thinking about is something my current teacher mentioned in a masterclass: vibrato can be used as a way to "project your sound" to the back of the room. It seems to be true, though I couldn't begin to physically explain it.

Plus, I just think I want to be able to play using all these "effects" (heavy vibrato, slow bow, "brushy" bowings, whatever) but be able to turn them on or off consciously.

Gary Karr is so totally out there as a musician. I had a few email exchanges with him and think he's a maestro in every sense of the word. He's so complete and comprehensive in his understanding of the instrument and yet so generous and erudite when he shares his knowledge.

Its not possible for me to have anything but a huge respect for him.

I was taught that when doing a huge shift, try to almost always shift to 2nd finger. it is easiest to vibrato, it is the longest finger, the middle of the hand, so it is more balanced. It is stronger than third or fourth, obviously. Try doing it. Vibrato almost happens naturally when making a shift to 2nd finger. But as far as practicing vibrato, I haven't found anything that works too well with that. The hardest part is at the 'break'. Any tricks anyone has found to vibrato like the F natural on the G string with 3rd or 4th finger? I have started using 3rd finger on F and E, and it makes it a lot easier for me actually