The Short

Ex. 14.5.Alonso, Le virtuose moderne
This preferable most clearly appealing vibrato [Bebung] is known to most violinists under the name vibrato or
vibration. In practice this phenomenon is still not made use of because it often speaks too weakly and unreliably, yet
on every good violin places similar to the following example ought not to fail in their highly individual effect. [Ex.
14.6] 1021
Ex. 14.6.Schröder, Die Kunst des Violinspiels, 27
VIBRATO 537
It was also mentioned, much earlier in the century by, among others, the cellist Dotzauer, who called it the Pochen and
referred to it as a technique for embellishing those long notes on which it was possible to produce it. 1022 There are many
major string methods, however, that fail to make any allusion to it, and in view of its limitations, its use is likely, as
Schröder's account suggests, to have been relatively infrequent.
Alonso's fifth type of vibrato, the bow vibrato, though discreet in its result, was much more frequently described and
was probably part of the technique of
1021
p. 27 .
1022
Méthode de violoncelle, 47 and 52–3, and Violoncell-SCHULE, 27.