Double Bass Tell Me About Vibrato at Softer Dynamics

[Crusader64]

Whenever I have to play soft, it is hard to include the vibrato. Maybe somebody can give some insight? For me, it just makes the sound go out of control. Is the vibrato supposed to oscillate at a slower tempo at this point? Is it just about practicing being able to the do the exact same vibrato, but just with slower/less-weighted bow?

Edit: Is it possible to still do that same fast (intense) vibrato down at the piano dynamic? Stylistically, are string instruments naturally expected to slow down vibrato at softer dynamics when playing orchestral and solo literature or should there be no difference in vibrato whether playing loud or soft by default?

 

[Johnny L]

Bottom line is I think you're squeezing the neck too much with your left hand. Stop doing that and I think you'll find using the bow a lot easier doing whatever you want to do.

 

[bassmastan]

Johnny is exactly right, it sounds like you are squeezing. How I was taught, you're left hand is always playing at fortissimo (the note is closed and vibrated beautifully), while the right hand decides the dynamic. It takes a lot of practice, as your left and right hands need to be independent from each other, yet work together if you would like I can send you a video/exercise of my vibrato warm up that will get you going in the right direction.

As for the differences in vibrato, this is one that brings up a lot of debate. Personally I think that as a musician, we need to assume characters while we play, or associate characteristics to music. This is how we decide how fast our vibrato is and how intense it is. I would not put a romantic vibrato on Bach, but I would on Bottesini if that makes sense. And even then I would not play Hindemith's Sonata like it was an Italian aria, but I absolutely would for Rossini (Une Larme). I think its circumstance that dictates style, however concrete technique is non negotiable!

 

[SVT4001]

...I think it's circumstance that dictates style, however, concrete technique is non negotiable!

Sig worthy!

Joe

 

[Crusader64]

Thanks for the insight. I'll just treat the left-hand vibrato completely independent from the right-hand dynamic.

 

[MikeCanada]

As Nick pointed out, context is everything. When you are first starting to learn vibrato, you typically have one "flavour" at your disposal. Usually it's something like Rocky Road blended with Cotton Candy, which isn't a combination that works all that well or is appropriate to too many situations. After a while, you develop a palate. Maybe your Vanilla is a subtle moderate speed, moderate width vibrato that warms up a few notes here are there. Maybe your Chocolate sounds like Gary Karr. Maybe your Strawberry is lightening fast and really tight. When you have different flavours, they compliment the music you are playing. Just as there is a wide selection of music, there is a wide selection of vibrato.

Typically the slower the tempo, the slower the vibrato. Dynamics tend to have less influence, where the period or country the piece was composed in, and the desired effect has a lot more. Listen to some film scores that use strings, and you will encounter the big grandiose vibrato in picturesque sweeping shots where the camera is on a helicopter flying over the landscape or the love interests have finally realized they can never be apart and slow motion run to each other from opposite sides of a park. The tight and fast vibrato comes in the quite, creeping up on someone, not sure if there is a demon around the next corner, sit on the edge of your seat and try not to jump scenes. A lot of white light and maybe some aliens? Probably pretty wide and slow to give you that "spacey" sound.

I'm using the example of film scores (with actual orchestras instead of midi strings that have come a long way in recent years but tend to have less of a tonal palate to draw from) because they tend to be very obvious in what emotion/effect they are trying to achieve. If you feel the music you are trying to make is associated with a particular message/feeling, draw from what you are used to hearing when you watch those things on screen.

Keep in mind that Baroque/early music typically didn't use much if any vibrato, and no vibrato has a very interesting sound that we currently tend to under utilize.

 

[Anonymatt]

I imagine it's the sound of a flute or something.

 

[David Potts]

I agree with much of what Mike said above about having a palette of vibratos to choose from to support the style.I start from the point that vibrato should add something positive to a sound that is already expressive. A bad (too wide, too stiff and jerky, too fast and intense) vibrato will distract audience attention away from the music. Don't sound like a worn-out truck starter motor!! Often I would rather hear/see no vibrato than a distracting one. Have a good warm not-too-wide singing vibrato as a default that avoids as much tension as possible. Practice switching on and off and changing speeds and widths while independently sustaining and connecting long notes with the bow. A small width of vibrato will still color the sound and look interesting to your audience even if it can't be heard to "sing". In a section the spread of different vibratos can actually intensify and enrich tone. The opening of the slow movement in Beethoven's 4th Symphony is a good example of this intensity.

A true bass singing voice will usually produce a much slower wider vibrato than a tenor. I admire the voice of the German baritone, Deitrich Fischer-Dieskow (?spelling) for its tone and use of vibrato. Look to singers of all voices for ideas,good and bad, about the application of vibrato.

DP