Klarinet Archive - Posting 000031.txt from 1995/02

From: Nichelle Crocker <NCROCKER@-----.EDU>
Subj: vibrato!
Date: Wed, 1 Feb 1995 23:28:40 -0500

Before I begin, I should introduce myself. My name is Nichelle Crocker and I am
a clarinet major at Eastern Washington University in Cheney, Washington. I
recently became very interested in the subject of clarinet vibrato, so I set out
to do my homework. I dug through mountains of old postings on the subject. I
considered the task to be well worth my time, but I still have a few questions
on my mind.

There are almost no clarinetists at this university, so I usually discuss my
playing with string players, flutists, oboists, etc. And I have slowly come to
the realization that in the time I have spent studying the clarinet, I have
never really received adequate information about the subject of vibrato.

The most formal instruction I have ever received was a suggestion by a former
teacher of mine that I might "consider its occasional use". So I sat around
for a while "considering", and this is what I came up with. Whether or not we
agree with its use in any given situation (that is not the subject I wish to
address), it is sometimes specifically called for in a piece. So we all should
know at least something about it.

Musicians who play other instruments know quite a bit about it. It is an art, a
science, and to some probably a religion also. A young flute student (for
example) is offered information, exercises, methods of developing this technique
while we sit here "considering" it.

Actually, one of the most striking things about reading all of these old
postings is the number of clarinetists who said that they were either unaware of
their own use of vibrato, or clueless as to how exactly they produced it.
(I don't want to imply that there were not those who clearly were aware of these
issues.) It would probably be difficult to find an oboist who was as unaware of
his/her own vibrato as most clarinetists seem to be.

I have always been encouraged to be very aware of everything I do when I play.
Shouldn't any technique we use be well developed and not just randomly thrown
in? I suspect that clarinetists sometimes react unfavorably to the use of
vibrato because it is often not done well. It seems that we are on our
own, not only in matters of good taste, but in the actual physical production
of vibrato. (Or should it just suddenly and mysteriously spring forth from the
depths of the clarinet?)

We are first taught to play without vibrato and this may give us certain
advantages. We (hopefully) learn to play well in tune and with a good sound
without the option of using vibrato as a crutch to hide inadequacies in sound
and pitch. I think of Baroque violinists who used vibrato sparingly and as an
ornament or color. These musicians were more capable of subtle variations in
color through the use of their bow than modern violinists. Aren't we in a
similar situation? I think most clarinetists give quite a bit of thought to
subtle variations in sound when using a straight tone, but don't seem to give
nearly the amount of serious consideration to the use of vibrato. I cannot tell
you how many times I have heard "it just happens" or "I'm not sure how I do it"
from both professionals and fellow students. If something is worth doing, isn't
it worth doing well?

One more question: in a list of books someone recommended not long ago, the book
"Clarinet Vibrato" by Paul Drushler was mentioned, yet there was no reference to
it in any of the discussions I read on the subject of vibrato. Any comments on
the book?

Nichelle Crocker
NCROCKER@-----.edu