Klarinet Archive - Posting 000053.txt from 1995/02

From: David Gilman <dagilman@-----.EDU>
Subj: Re: vibrato!
Date: Thu, 2 Feb 1995 14:38:58 -0500

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>Date: Thu, 2 Feb 1995 10:10:40 -0500
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>From: Fred Jacobowitz <fredj@-----.EDU>
>Subject: Re: vibrato!
>Comments: To: Klarinet - Clarinettist's Network
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>To: Multiple recipients of list KLARINET
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>Nichelle,
> I didn't know this letter was in my box when I sent you the other
>one or I would have combined the two. I use vibrato and NOT sparingly.
>The British have always used vibrato. I believe it is a wonderful extra
>color. The reason that many clarinetists don't traditionally use it is that
>the clarinet's
>sound is rather unusual in that it is a full, self-contained sound.
>Listen to a flute or violin without vibrato and you'll know why they need
>to use it.
> You'll notice that often oboe players will start a note
>non-vibrated and then add vibrato. The reason is that often oboe has
>that same self-contained sound. A big problem flute players have is that
>they use only one speed of vibrato and it takes over their sound to the
>point that it IS their sound. String players are always talking about
>speed and width of vibrato and of using it as an expressive tool and this
>is exactly my philosophy on vibrato. Use it. Alot. As much as you need
>to/want to. BUT, always as an addition to your sound for musical
>effect.
> You can learn alot about music from string players and singers.
>I feel that string players are rained to be soloists and musicians, not
>orchestra and band drones. Same for singers. Their collective
>philosophies about sound quality and interpretation are wonderfully
>refreshing and different (and, I belive, correct).
> I teach my students
>how to do vibrato--both the jazzers and the non. I myself use a lip
>vibrato just like jazzers (which I am myself) but naturally, toned down.
>Some people use the diaphragm vibrato of flutes but I find that this
>negates support and is not practical. Then there is palate vibrato.
>This is the singer's type of vibrato in which the soft palate at the back
>of the throat vibrates in response to the air pressure. It is a
>wonderful sound that some people do naturally (like the late Harold
>Wright). Indeed, I have had students who do it naturally. Some people
>like Charlie Neidich have worked with vocal coahes to learn to develop
>it. If that's the way you wanna go, more power to ya. O.K., 'nuff
>about that. Hope this helps.
>
>Fred
>
Fred,
Thanks for clearing up the sources of different types of vibrato. I
personally try to use it occasionally, generally to add color and expression
to a slow passage or to take some edge off high notes, or on rare occasions
[last resort only] to mask a sectional intonation problem. [How many c's
can one section produce? Maybe by adding a bit of vibrato I can trick the
audience into hearing fewer than there are. It works for string players!]
I now realize that my own does come from the throat (or palate as you say),
because I produce it the same way I do when singing along with my car stereo
or when playing flute. Personally, I never cared much for jaw (or lip)
vibrato: I usually find it too wide and too wild. As for the diaphragm
type, I have never been able to produce the pulse with the diaphragm alone.
And I agree that it could hinder proper support.
In conclusion, I think a subtle, judiciously applied vibrato can
enhance our sound. It is not necessary, but it should not be ignored.
Such for my $0.02.

David Gilman

   
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