Klarinet Archive - Posting 000690.txt from 1998/01
From: Jonathan Cohler <cohler@-----.net> Subj: Re: Re vibrato Date: Wed, 14 Jan 1998 19:45:29 -0500
Michael Whight wrote:
>I think we agree on more than initially suspected!
Sounds like it.
>
>By "core sound" I mean that the basic concept of producing a tone is with
>vibrato. So that far from being used as one of many devices to add to
>expression it automatically takes place(usually vibrato of the same speed).I
>find this predictable and mannered.
Me too.
>
>As far as I am concerned vibrato is an addition to a "core sound" and can
>take many forms.
>
>With regard to your beliefs about the social origins of vibrato and also the
>laws of physics I would be interested to hear your views on the "unnatural
>laws " followed by the Second Viennese School and many others since.
Sorry to disappoint, but I am not familiar with these. Please explain.
>Vibrato forms an element of expression in Classical music but it does not
>restrict itself to change of pitch.The use of bow vibrato is extensive and
>would seem to diminish the importance that I feel you are placing on the
>usual type.
If we talk about all the different instrument types (and voice too), there
are certainly many different kinds of vibrato.
On the clarinet, I am aware of only three types: jaw/lip,
diaphragm/abdomen, soft palette. These produce both amplitude as well as
pitch variation. The abdomen and soft palette methods produce more
amplitude than pitch variation and the jaw/lip method produces more pitch
than amplitude variation. And they can be combined two at a time to produe
even more subtle effects.
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Jonathan Cohler
cohler@-----.net
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