Introducing The Art of Vibrato (By SD/JP)

15 Nov Introducing The Art of Vibrato (By SD/JP)

Guitar Vibrato Vibrato: a very difficult yet overlooked skill. You all probably know the importance of this technique while playing lead. A sustained note without vibrato can often sound bland and tasteless. On the other hand, a poorly executed vibrato can sound harsh and sloppy. There are many styles of vibrato, each of them reflecting the personality of the player. Slow, fast, wide, narrow…

SD note: I once read somewhere that vibrato tells the boys from the men. I didn’t care about this definition at first, but in time, my mind went back to it and I now believe this is accurate. It sounds harsh and snob – and somehow it is, like many things written on the internet – but I see its inner meaning as, it separates the soulful musicians from the others, or it separates the serious musicians from the others, etc. But… Is there a general rule of how a hand-vibrato should sound? Probably not. But it’s easy to spot a vibrato that doesn’t sound good at all (SD note: too fast, too weak – when your hand is not trained or it is fatigued, or going out of pitch, not reaching pitch, for example). What we’ll do here is simply write our thoughts on this subject, to begin with. This article is not meant to be taken as the “only” truth. But it may be taken as a starting point for you to reflect on.

Let’s start with the concept of vibrato. When you play a single note on the guitar, it has a certain pitch. Sometimes, by merely holding the string with too much pressure, you can make the pitch go off, making it sound out of tune. Instead, when you pick that note and start to “modulate” it, causing the pitch to go up and down in a rhythmic way, it creates a rather “pleasing” effect to the ear, because you can’t really tell if that note is out of tune, since the pitch is varying all the time, and if the vibrato is being don well, the pitch is varying of musically good, controlled and predictable amounts. Now, with this in mind, we can get a little further. If you ask me (and many others) who is the player wiith the most intense vibrato in Rock and Blues, you would probably get (Angus Young!) as an answer. Well… Interestingly enough, Mr. Young’s vibrato actually is the spitting image of one produced by another legendary UK guitarrist: Paul Kossoff, of FREE. If you don’t know him by the name, perhaps the song “All Right Now” might ring a bell. This young man had the most intense and perfect sounding vibrato you can ever image, when he was healthy enough. Please have a listen here: httpv://www.youtube.com/watch?v=xz29Nc4ubz8 httpv://www.youtube.com/watch?v=mFO8KmbTdsc [JP] I spent months trying to figure out how in the world he could do THAT vibrato and, after watching a few live videos, I started to notice important details. Sadly, the short-lived Free didn’t leave many official recordings of their gigs. But what there is out there is enough to show how good they were. (Look for the “Free Forever” DVD. A really fantastic collection). So, now it’s time to watch and learn!

http://www.youtube.com/watch?v=U5bKGRn5Eyc

http://www.youtube.com/watch?v=61YeJ3KL5eM

These are the videos that have the best available footage of Koss doing his thing. Let’s take a closer look now. 1 – The first thing you probably noticed is that Kossoff always tried to use all his fingers to hold the string. He did this to get as much strength as possible (especially when bending). [SD] It’s interesting to note the same behavior here from Angus. All fingers are used to bend and then, vibrate. Why this? Strength. It is HARD, in all ways, to do so. It is physically demanding. Many wrongly use bigger strings, but very few really can and should (Stevie Ray Vaughan comes to mind). Most of us could be well set with 009s, to get THIS type of vibrato. Not only all fingers are used for strength; it is also a force momentum thing. In fact, to get the fingers push well, they will have to have a solid grip 2 – Look with attention to the angle of his hand. It was either on a somewhat sharp angle (For example at 1:52 and quick ones at 1:55, 2:00 and 2:03 in the first video) or a high angle (at 2:03, 2:08, 2:12 on the first video). You will find either of these two variations in all the other videos you watch. The first way was usually used with the lower strings, on a non-bended note or when performing a vibrato with the middle finger. The second variation was more common when doing a vibrato on a bended note and on the higher strings. One exception is when Koss played a bend with his pinky finger. It is, in a way, a mix of the two. The index and middle fingers are in a high angle, while the ring and pinky fingers are in a sharp angle (look at 2:06 on the “Fire and Water” video and 2:31 on the last “Mr. Big” performance). 3 – Watching the second “Mr. Big” performance (last video), we can see how his fingers are angled against the fretboard. Right at the beginning of the solo, we see a few “sharp angled” vibratos. If you look with attention, you will also notice that the finger that is holding the note itself is in an almost 90 degrees angle (2:26, 2:30 and 2:40). Instead, on all the bending-vibratos you’ll see that the last finger (usually his ring or pinky finger) is almost parallel to the fretboard. After trying it myself, I realized that this angle provided a bigger room for movements and more strenght (since you also has to keep the string bended). 4 – There’s a small detail that you will see in all the videos. And… It’s not about his hands or fingers this time. Do you know what it is? NO? Look again. You’ll see it more clearly in the second video. Watch his arm with more attention. Every time he performs a stronger vibrato, he actually lifts his whole arm! While it may not seem like an important movement, it actually is, because it works like a lever, making it easier to move your hand (the wrist muscles seem to be the ones that work the most). At least I think it feels more comfortable. 5 – Now I want to talk about something that you can’t get by just watching the videos. Especially on bended-note vibratos, it is important to highlight the “real” note itself before you start “shaking it”. If you start the vibrato too early, it will sound out of control. You have to bend, reach the note you want and just then do the vibrato. This way, you will convince everyone that you know exactly what you are doing and that you have full control of your vibrato. Plus, it sounds just beautiful when you have a stable pitch for one second or less before the thing goes wild (the 2:31 bend on the last video is the perfect example of this). 6 – The vibrato has to sound rhythmic and stable. If you start it at a certain rate, try to keep it like that, both in frequency and amplitude. If you want to stop the vibrato, do it gradually. 7 – Vibrato is a technique that requires TIME and PRACTICE. You only learn it by doing it. There’s no escaping. This is what Kossoff himself said in an interview (1976. The year of his death): “I think my sound, especially my vibrato, has taken a long time to sound mature, and it’s taken a long time to reach the speed of vibrato that I now have. I trill with my first, middle, and ring fingers and bend chiefly with my small finger. I’ll use my index finger when I’m using vibrato. (…) I think there’s still more room to develop in the way I’m playing. My vibrato is finally starting to grow up.” 8 – The most important thing is: you have to feel comfortable. It is, after all, a really personal skill. Most of the things I pointed out here are not supposed to be repeated over and over on your head like something you HAVE to do. It’s a thing that must happen naturally, with the instinct. You have to clear your mind, erase all the words and concentrate only on sounds. Play the sound you want to hear mentally in your head and just then let your body do the rest. NOW…

Now tell us…. Doesn’t Angus use similar techniques? He also lifts his arm for stronger vibratos, just for a start.

avatar
André Heiji
andkoz2010@hotmail.com

Life is music.

20 Comments
  • avatar
    dash8311
    Posted at 21:51h, 07 December

    This is a great article! Some of these videos aren’t working now though, perhaps time for a refresh :)

  • avatar
    OldSchoolRocker666
    Posted at 22:35h, 20 March

    When going down with all four fingers, how far down after the bend should one go to get the vibrato? I mean, is it more ”accurate” when trying out Kossoff/Young style of vibrato to go all way down to the position with the fingers as before you bended and how the fingers were placed like and then up and down?

    Or is it to bend up to the pitch, then go down slightly a bit, up ,down, up, down as the vibrato goes like?

    I’am not sure really to be honest, it ”seems” more ”powerfull” or ”effective” if i can call it that way, to go all or close to all way down again after the bend and then bending up and making the vibrato that way, just wondering if anyone can answer that.

    what is accurate? I’am confused really, could it work either way? Hope i explained it good enough.

  • avatar
    cjar
    Posted at 13:57h, 14 January

    Hi guys,
    Great article and comments, I have a resonable (not great) non bent vibrato but have allways struggled with the bent note version, and after reading this I have noticed my first action is actually pulling down on the string then “rocking” the string using the neck as a brace. I find this is impossible to do with a bent note, maybe the first action after reaching the bent note should be to be pushing the bent note up further and then release etc has anybody noticed this and overcome the problem?

  • avatar
    Lemmiwinks
    Posted at 00:06h, 15 December

    I always tend to lean the low e-string over the binding. Then I figured out bending or vibrating up was better. In general vibratos are very hard, its not about the long vibratos of every riffs end(those are quite easy) but the ones in the middle of things where your fingers might not even have a firm grip around the neck or in the middle of a pentatonic going up and down fast.

    Great article, Kossof and Young. I wonder if Angus is a big fan of Kossof.

  • avatar
    frankjoss
    Posted at 23:12h, 08 December

    Thanks for this, vibrato is a huge empty place for me for the moment, for the life of me I can’t seem to get it ( and bend+ vibrato is on another planet), I’ve googled till I drop but nothing seems to spark off any response in my fretting hand. Classical vibrato I can handle, and even on electric (I’ve got big hands 22cm long wrist to finger tip and a firm grip) but it just don’t cut it when you need something beefier. That’s why I say thanks cos if Kosoff himself took so long to be satisfied with himself then I can wait, knowing that with work it’ll come.
    If any Solodallas members could remember how the “click…I’ve got it nailed” came about I’m all ears
    See y’all

    • avatar
      jubaluba
      Posted at 15:04h, 11 December

      Ritchie Blackmore also said that he spent a lot of time developing his vibrato. He once said that he focused mainly on speed and accuracy for a long time. But then he really started developing his vibrato. According to what he said in that interview it took him about three years to develop a technique he was satisfied with.

      Those three years gave some pretty good results.
      http://www.youtube.com/watch?v=fpu4FkvQp1Y

  • avatar
    rjofig
    Posted at 21:59h, 23 November

    Thanks for the article and videos, guys, very helpful!
    (Adding to #7, patience and avoiding being too self-conscious is so important, it can sound really bad until you get the hang of it :)

  • avatar
    JaiminhoPagina
    Posted at 22:44h, 22 November

    Thanks guys! 😛

  • avatar
    headwhop26
    Posted at 15:41h, 16 November

    Im glad you posted this! I was jamming with a blues guitarist yesterday (He’s Majoring in Music and is amazingly talented) and he was showing my his BB King style vibrato. I certainly agree with you, it is one of those marks of a skilled player. It really takes some talent to keep total control of it.

    The vibrato at about 2:38 on the last Free video gives me the shivers.

  • avatar
    AngusRudd1019
    Posted at 01:56h, 16 November

    vibrato…the thing I do the most of in my playing and practice the most…

    • avatar
      AngusRudd1019
      Posted at 02:07h, 16 November

      ROCKER!!!!MY FAVORITE CLOSING SONG!!!!

  • avatar
    Nick
    Posted at 01:00h, 16 November

    Great stuff! Two of my biggest influences there, each with very distinct and famous vibratos. I myself even hold vibrato in the top 5 things a guitarist should have/now.

  • avatar
    rugster
    Posted at 21:41h, 15 November

    Great article, Kossoff is indeed the king of rock vibrato.

    There was a great piece recently about Koss & his unique style in one of the guitar mags. He was a classical guitarist from the age of 9, I guess that helped him build the strength in his fingers to manage such a sound. At 19 he opened for his hero Clapton. After the show Eric went backstage & asked him to show him his vibrato technique, he was astounded 😉

  • avatar
    Devil'Fingers"
    Posted at 20:50h, 15 November

    I’ve waited for it . Love it!

  • avatar
    GoingDownOnTheWay
    Posted at 17:53h, 15 November

    Hey [SD] and [JP]! 😉

    Love this article and I tend to agree on almost everything. I think the most important aspects are shown very well! :)

    However, I do not agree on 6.! To me the rate can change and sometimes in order to create a certain effect it has to change. Especially on those building vibratos (5.) both, frequency and amplitude, may start very weak and become stronger more noticeable.

    I think I did not get the point of that paragraph, or did I?

    Salut you guys! :)

    • avatar
      JaiminhoPagina
      Posted at 22:50h, 22 November

      I got your point. 😛

      But what I really meant with 6. is that the vibrato should be “steady”. It can vary, but a wide movement followed by a short and another wide wouldn’t sound that great. In other words, it has to follow a “pattern”, or else it will sound out of control.

      Does that make sense or am I just saying nonsense here? haha

      Cheers! 😉

  • avatar
    OldSchoolRocker666
    Posted at 14:28h, 15 November

    And that photo with Kossoff, isn’t that a Marshall Major? The black/white picture i mean, isn’t the box a little to big for being a ”ordinary” Super Lead?

    I am probubly wrong though :)

    • avatar
      JaiminhoPagina
      Posted at 22:46h, 22 November

      Hmm… Not sure about that. I never heard of Koss using a Major. 😛
      Maybe it’s the photo that is a bit “tall” or just our eyes playing a trick on us. – lol

  • avatar
    OldSchoolRocker666
    Posted at 14:12h, 15 November

    Great article! 😀

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