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Updated: June 25, 2025
"Then Edison explained to me that according to the scientific theory of vibration, the vibrations of the higher tone of the octaves should be exactly twice those of the lower note. 'But here, he continued, 'the vibrations of the notes all vary. 'Yet how can the player control his fingers in the vibrato beyond playing his octaves in perfect tune? I asked.
"I wish I did," I acknowledged. "You're not very happy, are you?" he ventured, in a voice with just the slightest trace of vibrato in it. But I didn't see that anything was to be gained by parading my troubles before others. And life, of late, had been teaching me to consume my own smoke. So I kept silent. "Do you like me, Peter?" I suddenly asked. For I felt absurdly safe with Peter.
'Well, if he cannot do so, said Edison, 'octaves are merely a nuisance, and should not be played at all. I experimented and found that by simply pressing down the fingers and playing without any vibrato, I could come pretty near securing the exact relation between the vibrations of the upper and lower notes but they sounded dreadful!
Her voice had something of the quality of the Träumerei in it, and it had affected him like a violin's vibrato, accompanying a death scene or as a litany might have done, had he been a religious man. "I suppose you find it too much the same, one day after another," he suggested, in response to that mournful quality in her voice. "You live here, then?" She was looking across the desert.
Artois had said nothing, but, as he sat listening to this fervid protestation, a message illuminated as it were by the vibrato, he began to hate the terrible frankness of the Italian nature which, till now, he had thought he loved. The beauty of reticence appealed to him in a new way. There was savagery in a bellowed passion. The voice was travelling. They heard it moving onward towards Nisida.
There is a happy medium of tempo, rather faster than slower, which gives the best results. Carl Flesch has some interesting theories about vibration which are worth investigating. A slow and a moderately rapid vibrato, from the wrist, is best for practice, and the underlying idea while working must be tone, and not fingerwork. Staccato is one of the less important branches of bow technic.
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