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Klarinet Archive - Posting 000956.txt from 2003/06

From: (Tony Pay)
Subj: Re: [kl] Utilizing vibrato; was, Cohler's vibrato article
Date: Thu, 26 Jun 2003 11:26:46 -0400

On Thu, 26 Jun 2003 08:08:25 -0700, DUFFYL@-----.CA said:

> ...most clarinetists should certainly learn some type of vibrato for
> music that requires it...I have seen some of Werner Heider's music ask
> for types of vibrato over the notes....he simply writes fast vibrato
> etc.

I think this type of vibrato -- vibrato as a modern 'effect' -- isn't
particularly challenging to produce, so I don't think it's all that
necessary to teach it. And as I said, because the other expressive
techniques, like timbral modulation, are more musically fundamental than
vibrato -- they show phrase shapes, for instance -- I'm more concerned
with those. If a student represents phrase shapes, and begins to use
vibrato as well to that end, then I have no objection (and I sometimes
do it myself). But it's a mistake to put vibrato centre-stage.

> The real can of worms with trying pidgeon hole teaching any concept is
> whether or not the vibrato the student wants is in reality the type
> they are producing...

You're right -- and that applies not only to vibrato. 'What you want'
is something that evolves. (Remember Michael Ende's 'The Never-Ending

> is where recording is a real bonus!

> Gervase dePeyer I always felt produced a fine warm and sonorous
> vibrato even over longer time scales with the feeling of resolution in
> the phrases.

Gervase was a boyhood hero of mine, and I did copy his vibrato a bit
early on. But what's interesting about his playing doesn't reside in
his vibrato, I think, and I dropped that quite quickly.

_________ Tony Pay
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