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Klarinet Archive - Posting 000088.txt from 2001/04

From: Bill Hausmann <>
Subj: Re: [kl] What you *can* say about vibrato
Date: Thu, 5 Apr 2001 05:30:35 -0400

At 07:32 PM 4/4/2001 -0500, Roger Garrett wrote:

>When you mean "less" vibrato, do mean vibrato that is less
>noticeable? Or, smaller, perhaps more narrow modulations of the tone
>color? I know that sounds very ambiguous, but I don't mean it to be that
>way. What I am getting at is that some players use a lot of vibrato (a
>quicker modulation with a less wide "bend" if you will) - especially in
>chamber music settings - in which they are working at both expressing and
>blending - and I have noticed quite a bit of vibrato within the ranks -
>but most of it never gets out to the audience. Similarly, I really have
>to listen to some recordings of the Mozart Concerto, for example, with
>headphones to notice that the soloist is actually using quite a bit of
>vibrato. This is the kind of "intensity" vibrato I referred to
>earlier.......... Then in other recordings that I particularly like, I
>notice vibrato only in passages in which intensity is desired - but again,
>the modulation is similar to what I describe directly above - faster, more
>narrow in scope.

I think the term "intensity vibrato" (as opposed to "pitch vibrato")
usually refers to a modulation of the tone primarily in VOLUME produced by
rapidly changing the amount of air going into the instrument. This is the
type of vibrato that pretty much MUST be used by flute players, but CAN be
done with reeds. The jaw vibrato affects pitch more than volume
("intensity" of tone). Use of vibrato to suggest an intensity of emotion
is quite valid, however.

Bill Hausmann
451 Old Orchard Drive
Essexville, MI 48732 ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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