Cello Talk 98: Artistic Use of Vibrato

Vibrato: What is it? What does it mean? What is it for? In this Talk I put forth my own theories. And once you’ve mastered all the different vibrato types and variations I’ve illustrated in these Talks, how do you apply them? Here, I give some examples with playing demonstrations.

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Cello Talk 85: Cufflink Vibrato

I’m not going to tell anyone what this means. You have to have to watch it to find out. I think you’ll find it interesting.

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Cello Talk 77–79: Calgary Talk I – Questions Answered II

So many have written with great questions prompted by the Cello Talks that it’s time for me to respond again. I hope my suggestions are helpful, and thanks to everyone for all the support and encouragement you’ve given me.

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Cello Talk 76: Vibrate Above: Good or Bad?

Some of the greatest violin players and string pedagogues say that vibrato should be from below the note and up to it only. But the singers don’t do it that way – see the earlier Cello Talk on that subject. Here’s why I sound better vibrating slightly above the note, for what it’s worth.

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Cello Talk 30: Vibrato in Orchestra Hall

How the Fischer-Dieskau vibrato speeds sound on the cello in a great concert hall.

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Cello Talk 24: 80, 90, and 103

Three important vibrato speeds from Talk 19.

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Cello Talk 21: Vibrato Consistency

Being able to produce the same vibrato on each finger is important.

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