Difference between revisions of "Vibrato"
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The whammy bar is the easiest and most versatile way to get a good vibrato. You can make it extremely large/wide. It's easier to apply to bends. You can apply it to chords, which is basically impossible for the above techniques. You can even continue the vibrato as you change notes on your left hand. And you can shift the pitch above and below the original note, so the average pitch matches the original. | The whammy bar is the easiest and most versatile way to get a good vibrato. You can make it extremely large/wide. It's easier to apply to bends. You can apply it to chords, which is basically impossible for the above techniques. You can even continue the vibrato as you change notes on your left hand. And you can shift the pitch above and below the original note, so the average pitch matches the original. | ||
| − | The only real downside is that it is difficult to use the pick and whammy bar at the same time. And if you're not already holding the bar, transitioning from picking to grabbing the bar can | + | The only real downside is that it is difficult to use the pick and whammy bar at the same time. And if you're not already holding the bar, transitioning from picking to grabbing the bar can be slightly too time-consuming to work into a quick passage. |
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| + | If your bridge is a dive-only model (typical on a Fender Stratocaster and clones), then what you have to do to get the pitch to average around the original pitch is bend the note on the fretboard higher as you apply vibrato. The amount you should bend the note will depend on how wide of a vibrato you are applying with the bar. | ||
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| + | The whammy bar can be very sensitive. For a vibrato technique, I like to grip the bar loosely between the 1st and 3rd digits of my right-hand ring and pinky fingers. Then I make a slapping motion, like I'm swinging a tennis racket back and forth. This is a lot of movement in the hand, but most of the movement is around my index finger knuckle. The ring and pinky fingers only have a slight movement. The momentum of the swinging motion guarantees a smooth vibrato movement. How tightly I grip the bar and how forceful my swinging motion are determine the width of the vibrato. Note: this only works for a floating bridge. For a dive-only bridge, you'll have to push on the bar, going from strong to lighter pressure - you don't want to fully release pressure against the bar, or the bridge will slam into the body; and you won't get a smooth vibrato. But getting it to be subtle will take work. | ||
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| + | I would focus on getting the vibrato smooth first, then work on the appropriate width. Try to consistently be able to get different widths for your vibrato. | ||
== Good Technique == | == Good Technique == | ||
Revision as of 13:43, 10 April 2014
Vibrato is a simple concept but a difficult technique to master. It involves moving the pitch of a note up and down repeatedly, to give a sustained note a bit more emphasis or livliness. The actual pitch of the note is in constant motion, moving up and down but never staying absolutely still.
Contents
Common Methods
Bending
The most common way this is performed is by doing very small bends (see Bending. The same way you do a quarter bend, you start your vibrato. While bending is typically designed to reach a certain pitch (and possibly return to the original), vibrato only wants a small deviation from the original pitch but to start to return to the original pitch as soon as the peak of that deviation is reached. And when the pitch is back to the original, you start to bend up again.
Note that with this technique, you can only go above the original pitch, not above and below. The average pitch of the vibrato is actually above the original note.
One thing to watch out for is that you only bending in one direction. IE, you are always pushing the string away from its natural fretted position, or you are always pulling it. If you push up, then don't simply allow the string to return to its natural position but "pull through" that point and begin bending higher in pitch using a pulling technique, there is an artificial sound to the transition. Picture a sine wave - the high and low peaks are rounded off and smooth. When you "pull through", you don't smoothly approach the low peak but blaze through it. This would be like if the sine wave had pointy peaks on the bottom but rounded peaks on top, like a bouncing ball.
Pushing/Pulling
Where bending is vertical motion, pushing/pulling is horizontal motion. Without actually moving your finger's position on the string, you move your hand towards and away from the bridge. The friction of your finger against the string is actually strong enough to slightly push and pull the string towards and away from the bridge, decreasing and increasing (respectively) the tension on the resonating part of the string.
This technique is difficult to master - it feels like you are going to slide off the fret. In this regard, it's very difficult to get a wide/large vibrato from this technique.
The main benefit to this technique is that you are not simply changing the pitch above the original note but above and below it. Thus, the average pitch of the vibrato and original note should be very close.
Vai's Circle Vibrato
Steve Vai decided using just one of the above techniques was not enough, so he developed a "circle vibrato" technique that combines them both. It's basically a 4-motion vibrato; however, each motion blends into the next one to keep it sounding smooth.
- push the string towards the bridge, lowering the pitch
- bend the string slightly, while continuing to push the string towards the bridge, raising the pitch to the original pitch or slightly above
- pull the string away from the bridge, raising the pitch
- release the bend, while continuing to pull the string, so the pitch is slightly above the original pitch
You'll notice you end up making something like a circular motion, hence "circle vibrato". You can swap the push for the pull in the steps above so you are making a counter-clockwise circle vs. clockwise, if that's more comfortable - the overall effect is unchanged.
So what's the benefit? You get the best aspects of both - the average pitch is closer to the original pitch than if just using bending, but you can get a bigger/wider vibrato than just using pushing/pulling. You can also purposefully reduce the smoothness of the transitions above, which can give a strange yet appealing sound to the vibrato in some cases. The downside is that this technique takes some serious practicing to get it to sound natural and smooth. It's also difficult to perform with the same speed as the other techniques. And speed is really a crucial part of the vibrato, to make it sound like a unified effect instead of a series of pitch shifts.
I don't know of any player besides Vai that uses this technique. I think it's worth learning for the sheer versatility, but I wouldn't worry about mastering it unless you find something really appealing to its sound.
Whammy Bar
The whammy bar is the easiest and most versatile way to get a good vibrato. You can make it extremely large/wide. It's easier to apply to bends. You can apply it to chords, which is basically impossible for the above techniques. You can even continue the vibrato as you change notes on your left hand. And you can shift the pitch above and below the original note, so the average pitch matches the original.
The only real downside is that it is difficult to use the pick and whammy bar at the same time. And if you're not already holding the bar, transitioning from picking to grabbing the bar can be slightly too time-consuming to work into a quick passage.
If your bridge is a dive-only model (typical on a Fender Stratocaster and clones), then what you have to do to get the pitch to average around the original pitch is bend the note on the fretboard higher as you apply vibrato. The amount you should bend the note will depend on how wide of a vibrato you are applying with the bar.
The whammy bar can be very sensitive. For a vibrato technique, I like to grip the bar loosely between the 1st and 3rd digits of my right-hand ring and pinky fingers. Then I make a slapping motion, like I'm swinging a tennis racket back and forth. This is a lot of movement in the hand, but most of the movement is around my index finger knuckle. The ring and pinky fingers only have a slight movement. The momentum of the swinging motion guarantees a smooth vibrato movement. How tightly I grip the bar and how forceful my swinging motion are determine the width of the vibrato. Note: this only works for a floating bridge. For a dive-only bridge, you'll have to push on the bar, going from strong to lighter pressure - you don't want to fully release pressure against the bar, or the bridge will slam into the body; and you won't get a smooth vibrato. But getting it to be subtle will take work.
I would focus on getting the vibrato smooth first, then work on the appropriate width. Try to consistently be able to get different widths for your vibrato.