In this lesson, we learn about the artistic application of vibrato, which is, as Clive Greensmith puts it, "one of the most important things we do as musicians." We learn how a varied vibrato is crucial to shaping the phrase, as Professor Greensmith explains using melodies of Brahms as examples. We also learn some exercises Professor Greensmith uses to free up the left hand and arm and create the proper oscillating motion.

In this lesson, Daniel Lelchuk takes us into the world of vibrato. We learn how to strengthen the fourth finger and how to even out or vibrato over all the fingers. Lelchuk also demystifies one of the seemingly hardest aspects of vibrato, which is vibrating freely in the high positions. We also study vibrato modulation and how much flesh of the finger needs to be in contact with the string.

As Professor Clein says, our vibrato should have as many different sounds and styles as our bowing. Clein explains that, to her, vibrato is three actions: the rotating of the wrist movement, the up and down motion on the fingerboard, as well as the flexibility of the knuckle. We are encouraged to explore vibrato styles and to think about that which the music requires.

In this lesson, we learn about creating a wide range of vibrati as we explore ways of broadening our color. Sant'Ambrogio explains that the vibrato and the bow must carefully work in tandem, so that we achieve a maximum range of expression. We also explore the difference between a hand and an arm vibrato, and why one is clearly the better choice.