Vibrato
Vibrato is the effect produced to enhance the beauty of a note in singing or playing an instrument by subjecting the note to regular alterations of pitch varying from slow to very fast depending on the tempo or feel of the piece being played.
Vibrato can be achieved on the guitar by using either a sideways pushing and pulling of the string sometimes called lateral vibrato which is generally employed on frets 1-2 or the more important length wise vibrato (employed on fret 3 onwards). This method, which is related to (but not the same) as that used by violinists and cellists, is a beautiful effect which must nonetheless be used tastefully. As the name implies, the length wise vibrato is achieved by firmly pressing the desired note and, having plucked with the right hand, alternatively push the hand towards the nut then pull the hand towards the bridge until the note ceases to sound. This continuous pushing and pulling lengthwise has the effect of tightening and loosening the string and therefore raising and lowering the pitch, thereby helping to sustain and produce a singing quality to the note. Practice the vibrato chromatically i.e. 1, 2, 3, 4, 3, 2, 1, etc. firstly on the bass strings $% and ^ as a better grip can be obtained on the wound strings than on the clear nylon strings.
Ex. 1 begins with 1 on F# $(fourth position) working through chromatically 2 on G, 3 on G#, 4 on A, counting the notes as indicated on each push and pull of the hand. This slow exaggerated movement sounds strange at first, but as the beats increase, (Ex. 2 and Ex. 3), the sound becomes more like an acceptable vibrato. As shown below, practice this technique on all the strings in the fourth position before moving to other positions on the fretboard. Scales and melodies should also be counted this way until such time as the hand feels under control and ready to produce a less rigid, free vibrato.
Controlled Beat Vibrato Exercise
Try using a controlled beat vibrato on the melody line of the previous Spanish Ballad.
The following Minuet in C by Agustin Barrios is written in the style of the 19th century composers such as Sor, Giuliani, Aguado etc. and as such should be played graciously (Grazioso) and with a dance-like feel. Being in the Key of C it often uses the third and eighth positions as indicated by the Bar signs. Note also the use of the four string Bar ( * ) which uses the tip and middle segments of the first finger to cover $, #, @ and !. Be sure to bend the middle joint to allow closer access for 2, 3 and 4 to the fretboard (see photo).
Giuliani's Norwegian Dance demonstrates changes of key (modulations) from the opening E minor (key signature Fs) to its relative major G major (key signature F5) back to E minor before changing to E major (key signature F#, C#, G# and D#) then returning D.C al Fine through E minor. Whilst the same dance feel is retained throughout, the mood of the piece is changed dramatically by the constant changes of key, primarily dark and brooding in Em, a lighter, happy feel in G and an elated, sunny mood in E.
As its name implies Lagrima or A Tear is a slow, romantic piece which again uses a change of key (E major - E minor - E major) to convey strong mood changes. Use rest strokes on the single melody notes and be sure to differentiate between melody (upwards notes stems) and harmony (downwards note stems). Use vibrato where possible. Note the extensive use of guide fingers which can be practiced as portamento or slide (see page 138) depending upon taste and can be changed to either at anytime.
Carcassi's Study in A is generally regarded as one of the finest studies for the guitar because of its great technical and musical value. Use rest strokes as marked (d) on the a finger notes and make the chord changes as smooth as possible.
