17 Aug 3 Surprising Facets Of Violin Vibrato

Vibrato Dynamics

When performing vibrato on the violin, we manipulate the pitch by rolling our finger up and down the fingerboard. However, several factors, beyond just pitch change, characterize the vibrato’s sound. The changing structure of the finger’s skin – rolling from the softer pad to the harder tip – leads to a higher perceived volume at the crest of the vibrato. This effect is reinforced because at the highest point of the vibrato the pressure on the finger is usually stronger than when rolling backward on the fingerboard.

Another important factor, which is not entirely within our control but interesting to experiment with, is the resonance of the instrument. The violin’s acoustics are so intricate that it resonates optimally at certain frequencies while others do not resonate as well. A well-known aspect of this phenomenon are “wolf notes.” Wolf notes occur at specific frequencies that resonate suboptimally due to the instrument’s structure. These notes often have an unstable, sometimes howling, sound, especially when played in higher positions on the G-string.

The wolf note is an extreme example, but since the frequencies of notes in our musical system are partials of each other, the position and intensity of a wolf note can imprint on all of the violin’s sound characteristics. Consequently, some notes on the violin naturally resonate better than others. Another example: D Major is a very common key for violin concertos because important notes in this tonality resonate well on the instrument.

The changing pitch of the violin vibrato can thus lead to a change in volume of the note due to the instrument’s resonant response to different frequencies. This is also why different violin’s responsiveness to vibrato can vary, and why this responsiveness is also considered a factor of a good instrument.

Vibrato Evenness And Shape

A violin vibrato is often described as a sine wave-like oscillation of the pitch of a played note. However, the actual shape of a violin vibrato will always deviate slightly from this ideal due to the individual shapes and sizes of players’ fingers, giving each vibrato its unique character. To some extent though the control over the vibrato’s oscillation shape and size is in our hands as players.

During the “golden era” of violin playing, artists like Fritz Kreisler, Yehudi Menuhin, and Jascha Heifetz (among others) were renowned not only for their effortless virtuosity but also for their distinctive, continuous, and fast vibrato. Although the extensive use of this vibrato style eventually led some listeners to criticize its repetitiveness, the mastery of an even oscillation by these golden-era violinists remains, in my view, unsurpassed to this day.

In modern times, we enjoy the freedom to use vibrato in various shapes, sizes, and speeds, depending on the music and our personal taste. The pursuit of the most even and continuous vibrato may no longer be in vogue, yet the ability to produce such a vibrato, without compromising intonation, is still a skill that captivates listeners and touches hearts when used tastefully.

To attain control over different vibrati, we must focus on developing the evenness of the oscillation and exploring slight variations in its shape, such as a prolonged crest and a prolonged trough. Practicing the oscillation with an altered dotted rhythm can help ensure that each part of the oscillation is trained evenly.

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Violin Vibrato Pitch

The pitch of vibrato in musical performance often sparks debate. The key question is whether vibrato should go under or around the pitch. This choice can depend on the instrument’s constraints. For example, on guitars, the frets limit how much you can lower the pitch, whereas fretless instruments like the violin allow for more flexible pitch manipulation in both directions.

In my view, there is no one-size-fits-all rule for vibrato pitch; it is highly situational and depends on the musical context.

Top violinists demonstrate how they use intonation nuances to shape their unique sound. Whether they play with a higher, more edgy tone or a lower, more relaxed one affects their musical expression. Once the target pitch is established with a relaxed finger, vibrating around the pitch is often the most logical approach. This keeps the target pitch at the center of the note and maintains a neutral finger position for the intended pitch.

The direction of vibrato can enhance the wanted musical effect based on the context. Vibrato that goes more under the pitch tends to have a calming effect, while a slight vibrato above the pitch can highlight the note and create excitement. However, since precise intonation is crucial on the violin, aiming for the center of the pitch and developing vibrato around the pitch is generally advisable in most situations.

Here is a visualization of the vibrato of the violinist Josef Hassid from his recording of the haunting “Hebrew Melody” by Joseph Achron.

Here is an example of expressive intonation and visualization of the violin vibrato of Hilary Hahn in the Ballade of Eugene Ysaÿe.