Vibrato came totally naturally upon me, as it seems to about 50% of players. Over the years, I have watched many a student simply adopt a vibrato, good or bad, without it being introduced in a lesson at any certain point. During my teacher education, we studied violin literature in depth, the proper time to introduce certain pieces and techniques, and in what order; where certain techniques fell in the ‘timeline’ of playing maturity. But vibrato was rarely, if ever, discussed. Even in my most advanced master classes, my professor just said in the group to me ‘You have a really nice vibrato’. It was at that moment I started to notice that not everybody had the same vibrato. I began to observe that there were different approaches to doing a vibrato, and different styles of vibrato. Over the years I have developed a method to teach vibrato with certain exercises, but I don’t usually introduce it until the student shows signs of interest, asks me about it, or enters a phase of ability in which it could be handled without stress.