hi in these next several videos we're
going to be talking about vibr this is
the technique that everyone wants to
learn because it gives our sound Beauty
and richness and color and
personality now I'm sure you've seen the
other um videos on the website about uh
vibr we've had brilliant discussions by
other experts on how they teach or on
learning vibr so this is just my version
my slant um so hang with me we're going
to we're going to go deep going to talk
about the different kinds of vibratos
and um give exercises and and tips on
how to integrate that into practice um
but first let's just start with what we
know okay you already know that that
vibr is a is a regular even oscillating
motion where we go we move from the
pitch to below the pitch and then back
to the pitch okay and that orally we
perceive the pitch as being true that if
we were to vibrate above the pitch we
would perceive that as sharp okay so
let's let's look at how that that that
happens and and the different ways that
that happens the we move away from the
pitch so I I can do this in in two two
two basic different ways so one is
moving from the wrist and when I move
from the wrist my hand essentially is
rocking the finger back and when I do
that the contact Point changes so it's
going from more on the tip of the pad
and then as it rock rocks back the skin
um comes into contact with string the
string more on the on the um underside
of the finger down further on the pad so
that's what creates that amplitude um of
vibratos the width of the vibr and so
the further away we move from the pitch
the greater the amplitude and the
greater the amplitude the more we
perceive the vibr when the vibr is
narrow sometimes even though you're
working very hard we don't really hear
much of a vibr so there has to be an
adequate amount of amplitude to the vibr
just to be able to perceive it okay the
other way is when we when we we move our
arm starting from the shoulder so the
the the shoulder moves it opens up the
elbow and when that happens it actually
just pulls the finger away so I'm moving
all the way from the arm I'm not moving
my wrist now and it pulls the finger
away and the the hinge that allows this
to happen is this first knuckle so when
I pull the arm away that knuckle is
really also straightening and then when
I come back up to the pitch the knuckle
becomes squared so the flexibility of
the knuckle right here is really pretty
crucial for the arm vibr to work well
otherwise what happens is is if this
knuckle is stiff and we have an arm vibr
all we're really doing is just sort of
wiggling um on the on the tip of the
finger like this skin has a lot of
wiggle room anyway and that of course
comes into play with a vibr motion but
with a finger with a I mean with an arm
vibr if there isn't a lot of give in the
knuckle then all you do is have this
sort of wiggling um motion down here and
again there's not enough amplitude and
then we don't hear the vibr as well so a
lot of things come into play with fibr
um we have uh movement from the wrist or
we have can have movement from the arm
and in both cases we need to have um
flexibility here in the knuckle and
that's just something to train and
something to be to be very aware of okay
so we're going to start with wrist and
then we're going to move to arm but
first I want to address this one issue
and I know it's something that a lot of
people think about and that is which is
better arm or wrist there's all kinds of
debate about arm versus wrist
and the truth of the matter
is neither is better nor worse I have
colleagues and there are Solo some of
the most amazing players that have wrist
vibratos and there are some that have
arm
vibros what really comes into play is
the the way it's used expressively the
speed and the amplitude and and how you
work with those things again to create
personality of sound so either way way
is fine and if you gravitate toward one
or the other that's fine too a lot of
teachers start with the RIS vibr because
it's a more refined movement and it's a
little harder to learn at first and so
if a student is just using exclusively
arm chances are they're not going to
involve the wrist
later but if you learn some wrist motion
and even if you sort of morph into an
arm vibr which often happens we set
students up we teach a wrist motion and
then once they start flying solo they
start opening up the arm and they get a
natural organic arm vibr and that's fine
having used the wrist though allows for
a little bit more flexibility there and
then you have this nice combination VI
and I think that's what mine is it's
there is arm and there is wrist and it's
all sort of working together so we'll
we'll we'll discuss both and then you
work with both movements and then just
let your own style Blossom from there