Arm vibrato for violin and viola

Everything and more for the arm vibrato. With the booklet you just have to practice.

It offers 96 pages:

• for practitioners and teachers
• 39 Exercises with 
• approx. 90 variations and
• approx. 100 linked videos and alternatives [optional*].
• Introduction and background information 
• for violin and viola 
• all levels of proficiency
• applicable across all learning and teaching methods
• bilingual: German and English

Watch video: German | English

*The exercises and exercise ideas are described in such a way that they can also be carried out without the videos/alternatives. 

About the collection

The booklet contains exercises and practice ideas for beginners, advanced students and professionals. Some are also done without an instrument and serve as preparation. There are also exercises with and without using the bow. "All levels" refers to the fact that exercises can be introduced directly in the first lessons and others are challenging enough to challenge advanced players and professionals at all levels. It takes into account that continuous development must always be possible.

The focus of the collection is to improve the independence between right and left in arm vibrato, so that everyone can use and shape their intended vibrato consciously. Often other playing techniques and basic coordination are also encouraged. All in all, the booklet is probably the only collection ever dedicated to the subject of arm vibrato and offers a variety of approaches to exercises. Many of the exercise ideas can also be applied to other types of vibrato. The booklet is consistently bilingual (German/English). | Learn more about the collection | 

 You can't do it without independence

Without the independence between right and left, no vibrato works properly, no matter what kind, because: The vibrato 

• should be able to be used consciously
• should be able to change the speed of vibration at any time
• should be able to move independently of the speed of the bow draw and
• should also be able to be varied in finger pressure.

All this (and much more, of course) contributes to the fact that vibrato is more than a mere tremor: it can actually be systematically prepared, introduced and also developed. 

Most common causes when it does not work

In fact, a very common and often frustrating cause is that it is not possible to decouple bowing speed from vibrato speed. Solutions to improve this at all power levels can be found in the booklet.

Another very common cause is that contact with the string deteriorates during vibration. This is often referred to as a "slung" vibrato, too loose finger pressure, or simply too much intonation variation or too much amplitude. This is due to the fact that the necessary flexibility for the vibrato often cannot be combined with the equally necessary stability.  

For both causes, so that you can learn it properly from the beginning, there is the ResoundingFingerboard. How this can support practitioners in vibrato, you can read directly at ema. And by the way: With the fingerboard you can also re-learn "old" patterns especially fast. It is also used in the booklet. 

ISBN 978-3-00-068280-3 

Free reading sample