Return to vibrato (thing)

Until the last half of the [twentieth century], vibrato as a form of [expression] in music was largely taken for granted. All forms of [legato] and [sustained] playing on any [string instrument] in the [orchestra] is subject to the enriching qualities of vibrato.

A proper vibrato is acheived by the [shaking] [back and forth] of the wrist and elbow without picking up the finger that is [depressing] the string in a proper position. This is done by a performer to increase the [warmth] and [tone color] of a given passage; as such, when a [composer] marks the [score] senza espress it is generally taken to mean 'without vibrato.' It lessens the chance for a performer to add expression or any interpretation. [Igor Stravinsky] was proud and fond of using this.

Vibrato is such a widely used [practice] that actually seeing the word in the [score] is indicative of a place where the string player should [gross]ly over-exaggerate the vibrato used, either to increase drama and [tension] or to parody. The generally accepted practice of using vibrato in most or all expressive, sustained, or non-[stacatto] passages leads to the combined vibrati of an entire string section, and this is what gives the section its tonal color, its [character], and its ability to inspire [emotion] in the modern listener.