Klarinet Archive - Posting 000790.txt from 1996/03

From: ncrocker@-----.EDU
Subj: Vibrato again (fwd)
Date: Thu, 28 Mar 1996 12:34:35 -0500

One more exerpt from an old email about vibrato:

>Do you use these types of vibrato differently in different ranges of the
clarinet as well?

Yes. Some notes are more pitch-flexible than others. Basically, high notes
with short-tube fingerings are much more pitch flexible than others. A high C
(C3) can be lipped all the way down to a G (G3) without changing the
fingering, for example. Also, every fingering generates a different amount of
reisitance to your blowing force. Some notes require very little air
pressure, such as a throat G (G2), whereas others require a considerable
amount (e.g. third-line B). Again, this is largely a function of the
tube-length of the fingering, and the use of the octave key to change
partials. The longer the fingering, the more reisitance. And the octave key
tends to add some resistance too.

With all this said, you then can use the two techniques (either independently
or in combination) to best fit the desired sound. For example, a high-G (G4)
is very flexible in pitch. Therefore, it is VERY sensitive to lip vibrato.
In some cases, it may be better to very little or no lip vibrato and add some
diaphragm (and/or) throat vibrato. Especially, when you are first learning to
control your lip vibrato, it might be safer to lean more toward the
air-pulsing techniques.

On the other habnd, a low F is very stable in pitch. It is very hard, as I'm
sure you've noticed, to do much with the pitch (in either direction) of a low
F. Therefore, it's easier to use the lip vibrato to generate a nice,
noticeable vibrato. Of course, as youget very soft, you will probably want to
transition over to the air-pulsing technique as I discussed in the previous
message.
---------------------

-Nichelle
ncrocker@-----.edu

   
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