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Klarinet Archive - Posting 000527.txt from 2003/06

From: "Jason Spradlin" <>
Subj: Re: [kl] vibrato
Date: Wed, 18 Jun 2003 18:34:25 -0400

Well, now... that's probably why I hadn't learned it in my 6 years playing
through middle/high school. And why it had never even been brought up. I
had no idea that the subject of Vibrato on the clarinet was so taboo, or
that it would open such a can of worms. It's quite interesting to see how
everybody feels about this topic and, as long as nobody gets belligerent,
it's very interesting information in and of itself.

The reason I brought up the subject was because of the song Stranger on the
Shore as played in the movie The Majestic. I originally liked the song
because of its role in the movie Mr. Holland's Opus but I like the way it
was jazzed up for The Majestic. Although, when the song starts in the
Majestic, it's very soft, like the original, and the long notes have a
slight, subtle vibrato to them before it breaks out in a more upbeat
fashion. But I was having trouble reproducing that vibrato and now I know
why. heh.

Thanks everyone, for your input.

Jason Spradlin

----- Original Message -----
Subject: Re: [kl] vibrato

> From David Dow
> Regarding Vibrato
> Once again a heated discussion on the use of vibrato and whether it is
> disastrous to the music. WeLL, that means one would have to trash all
> work of Heifitz and solists of that calibre on all instruments. The
> aguement should really be what kind of vibrato is deemed musical and what
> kind is deemed unmusical. This is where one begins to beg the answer
> than the quide onself to the question ....I work professionally in a
> Clarinet chair and can say I certainly don't use alot of vibrato if
> any....however, there are musical passages where a slight vibrato can
> certainly add colour to the tone and also give securtity to the pitch.
> there are many out there who can't even play a vibrato so head straight to
> the camp- No Vibrato zone...these people certainly have to be respected
> in North America are probably in the majority.
> When I studied in france with Guy Dangain and Walter Boeykins the tendency
> was in the teaching to discuss types of vibrato and whether it was
> for the music. For example a Brahms symphony is much harder to pull
> off in then say a Debussy Orchestra work. some of the arguements for this
> are partly aligned with the performance tradition of a piece of
> I can honestly say alot of my students have no clue when you discuss the
> perfromance tradition of a piece. So a good teacher really has to
> listening to records and such in order to give the student an informed
> of the music!
> I also know that in the mid 80s in France the fast traditional vibrato of
> the 50s and 60s was long gone. Instead french players at that period were
> adopting different piece. And Yes the B40 and the M13 were soon all over
> France. This led to a more straight tone and I think in someways with
> change a loss in the individuality of the tradition French sound. Also
> working personally beside Paul Meyer I noticed he used a 5RVLyre for
> everything and sounded magnificent...he alone may be the last hold out.
> Players like Boeykins and Freidl are superb and play a B40 for everything.
> I also know that these things are cyclic. However, the B40 sound is more
> focused definitely and may have slowed down the outright use of a fast
> vibrato.
> Original Message -----
> Fr: "Dan Leeson" <>
> To: <>
> Sent: Wednesday, June 18, 2003 10:35 AM
> Subject: [kl] vibrato
> > Alexander Brash wrote:
> >
> > "Anyone who's still against all vibrato in "legit" playing...pick any of
> > Charlie Neidich's or Jonathan Cohler's recordings. Listen to them, and
> then
> > tell me with a straight face that they sound heinous and that the
> is
> > horrible and is destroying the performance. Dismissing something out of
> > hand, without experimenting yourself, is silly. If you have a teacher
> > says not to do it, challenge them on it, make them explain why it isn't
> > good, then (and they'll inevitably fail) experiment yourself anyway and
> > decide if YOU like it."
> >
> > While I am not only sympathetic to what is said here, but have been a
> > proponent of vibrato for years, I make the suggestion that offering
> > something that one likes as evidence for its universal use, is not an
> > effective argument. Those who dislike vibrato will hate it in the
> > recordings that Brash offers to endear them to it.
> >
> > Trying to prove that something is good or bad by asking someone to
> > listen to what you think is good or bad, has a small chance of working.
> > Its too subjective an appoach and too easily dismissed. Typical: "Well I
> > listened to those recording and I think they stink." It's an argument
> > that is easy to make and impossible to counter. "You think it stinks?
> > Well I think you stink. And your mother wears army boots!!"
> >
> > And so it goes. Arguments need to be far more objective to get anywhere.
> >
> >
> > --
> > ***************************
> > **Dan Leeson **
> > ** **
> > ***************************
> >
> >
> >
> >
> >
> >
> >
> >
> > ---------------------------------------------------------------------
> > Klarinet is supported by Woodwind.Org,
> >
> >
> ---------------------------------------------------------------------
> Klarinet is supported by Woodwind.Org,

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