Vibrato advice from Gary Karr

[stan haskins]

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.

[Richard Prowse]

Originally Posted by stan haskins

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."

[Daniel Yeabsley]

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.

[stan haskins]

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.

[Steve_M]

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.

[james zauner]

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