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MUSIC 414: Teaching Vibrato

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Hannah Lin

on 8 May 2014

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Transcript of MUSIC 414: Teaching Vibrato

MUSIC 414: Teaching Vibrato
Pre-Vibrato
Developing Vibrato
Artistry
My Pre-Vibrato Experience
Popping the Bubbles
- flexibility of first knuckle
"Slide on the Side,
Take your Thumb for a Ride"
- from Dr. Rosalyn Troiano
Viva Vibrato
Vibrato Readiness Checklist
How it Should Look
My Developing Vibrato Experience
Sick Cow Stage
101 Ways to Teach Vibrato
#49: Ghost Tones (harmonic glissandi)
Violinmasterclass.com Exercises
Guidelines for Consideration
My Early Experience in Developing Artistry
Fischbach, Gerald F., and Robert S. Frost. Viva Vibrato! San Diego: Neil A. Kjos Music, 1997. Print.

Galamian, Ivan. Principles of Violin: Playing & Teaching. Englewood Cliffs, NJ: Prentice-Hall, 1962. 37-43. Print.

Sarch, Kenneth. "Teaching Vibrato." Personal interview. 4 Apr. 2014.

Sassmannshaus, Kurt. "Left Hand - Vibrato." Violinmasterclass.com. Starling Project Foundation, 2012. Web. 08 May 2014. <http://www.violinmasterclass.com/>.

Starr, William. The Suzuki Violinist. Knoxville: Kingston Ellis, 1976. 132-37. Print.
Polishing the strings
- direction of movement
Q&A with Dr. Sarch
Q: When should you start teaching a student vibrato?
A: Teachers should prepare students to learn vibrato right from the start.
From the start, students should learn...
... to relax their left arm, elbow, wrist, fingers, and thumb.
... correct hand form.
... movement exercises that explore moving all over the instrument.

* These are all crucial to learning vibrato.
"If the student is progressing well, vibrato should be taught after the first year of playing." - Dr. Sarch
Connects the left hand to the neck of the violin
Sliding motion parallel to neck of violin
Student may also touch left thumb to neck and "Slide on the side ..."
BODY:
Swing body gently backward and forward, left to right, and around in small circles
Do the same with instrument in playing position
ARM:
Swing elbow freely
Hold violin with left hand, release left arm tension
Swing elbow again
Swingplop

HAND:
Balance hand easily on end of forearm
Move hand freely from wrist
Check line from fingers through hand and forearm to elbow (no unusual bends)
THUMB AND FINGERS:
No squeezing!
Tap thumb, flexible
Tap fingers, bounce and float
Happytappy
Shake, Rattle, and Roll
101 Ways to Teach Vibrato
#9: Knocking
#28: Two Points of Contact (not 3)
Book 1 pieces in IV Position
Book 1 pieces in I position
#71: Substitution
#40: The Finger Roll: with Rubber Ball
#82: Shifting & (Continuous) Vibrato Study
Special Thanks to ...
... Professor James Lyon
... Dr. Kenneth Sarch
... Dr. Rosalyn Troiano

Wrist anchored on shoulder of violin
Wrist still anchored on shoulder of violin
Suzuki Review Pieces
Book 4 Tonalization
Vibrate on long notes
Vibrate while playing expressively
References
Dr. Sarch's
101 Ways to Teach Vibrato
Kinds of Vibrato
1) Arm Vibrato
2) Hand Vibrato
3) Finger Vibrato

“Each of these three types has its characteristics, and I that because of their different color possibilities all three should be developed and used. The variety resulting from the combination of these three types gives the performer a far wider range of coloring and expressiveness and a more personal tone quality.” (Galamian 37)

- When practicing these, isolate each kind
- In real performance, there will be a blend and mixture of all of these

With Dynamics
Forte
: more intense and wider
Piano
: more subdued, narrower, less fast

Intensity
- Arm Vibrato: most intense
- Finger Vibrato: gentlest

Wide or Narrow?
Slow or Fast?
- Use combinations of these that best fit the character of the music.

Troubleshooting
Intonation
- Vibrate back to the flat side of the note, not in both directions
Double Stops with Vibrato
- Practice on one finger first, then the other, then both together

- Especially when playing chords, arm vibrato is only solution (hand vibrato not possible)

Continuity of Vibrato
Exercise:
- Play scale, starting each note with intense and sudden vibrato, then diminishing the sound

- Then practice long tones without the diminuendo, keeping the vibrato going without interruption during bow changes

- Finally, practice slurring 2+ notes on each bow with the vibrato carrying over from one note to the next

• Make sure bow also feels sympathetically continuous with vibrato
Full transcript