 The Clarinet BBoard
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Author: Hank Lehrer
Date: 2009-03-08 14:20
Hi Everyone,
I'm doing Reed 4 for Forum and have a whole lot of BC in my book. Many of the ballads have wonderful BC parts that I have been using a touch of vibrato with in rehearsals. The director is also a good BC player and he has not frowned at all during my playing. I'm trying to match the vocal style here.
I know we have several very fine BC players on the BB. Am I on solid ground with the vibrato in this case?
I have reviewed the posts on this topic so far and although DS has found vibrato on BC "repulsive" in one case, perhaps I might be able to get away with it in the situation I've outlined above.
HRL
PS Playing BC has been a blast and I may even opt to play it in one of my wind ensembles next year. But I am not ready for the On the Trail BC solo yet. No vibrato there.
Post Edited (2009-03-08 14:30)
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Author: LarryBocaner ★2017
Date: 2009-03-08 17:55
I see nothing wrong with using a judicious amount of vibrato on bass clarinet when appropriate to the music performed. On the Bernstein/Vienna Philharmonic recording of "Don Quixote" the bcl player uses a pretty wide vibrato on the high register solo depicting Sancho Panza's drunkedness. I loved it -- wish I'd thought of it first!
Larry Bocaner
National Symphony Orchestra, Washington (retired)
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Author: Hank Lehrer
Date: 2009-03-08 18:03
Hi Larry,
I was hopeful that you might answer this post. Agreed that judicious use the the key consideration.
Sometimes, like the overture and on certain underscores, I am soli with the saxes. I have attempted to blend tonally as well as stylistically there as well.
Thanks,
HRL
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Author: Roger Aldridge
Date: 2009-03-08 18:10
Hank,
I use vibrato on bass clarinet in certain musical situations. This gives the bass clarinet a deeply expressive vocal or cello-like quality. There are times when I specifically have a cello in mind when I'm playing.
I've heard Don Byron use vibrato at times on bass clarinet to give it a vocal-like quality and to my ears it's quite beautiful.
The bass clarinet is a great instrument for expanding musical horizons. So, I'd suggest that you trust your instinct and if using vibrato in particular situations sounds good to your ear, by all means go for it.
Roger
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Author: clarnibass
Date: 2009-03-08 18:46
Of course there is no problem using vibrato or not using vibrato on bass clarinet in general. But your question is about the specific way you use vibrato in the specific music you are playing. Maybe someone knows this music (I don't) and can help with specific reasons to use or not use vibrato for that, but even that might be different from how you sound with whoever it is that is playing with you.
Best I can offer is to notice what yoru vibrato does/adds/ditracts, and decide whether that is something that is good to do to the specific music you are playing.
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Author: David Spiegelthal ★2017
Date: 2009-03-08 18:47
I usually don't like vibrato on bass clarinet, but on the other hand I have a favorite recording of Suk's "Asrael" Symphony by the Royal Liverpool Phil under Pesek, and on it the bass clarinetist uses a moderate vibrato to great effect on the many lyrical passages for the instrument. As they say, "everything in moderation".
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Author: Ed Palanker
Date: 2009-03-08 19:58
I too don't usually use vibrato on the bass clarinet, or clarinet for that matter, just a touch in the Debussy Rhapsodie and Copland Concerto, here and there. My feeling is that both instruments, especially the bass, has such a rich tone that it isn't necessary. But, that is not to say never and in good taste. The only time I've used any vibrato on the bass is in the slow solo near the end of American in Paris. If you do use it please don't try to sound like a saxophone, especially if you don't get a full dark tone, because you will actually end up sounding like a saxophone. You always want to retain a "bass" clarinet tone quality. With that said, done in good taste, not too wide or too fast, it probably fits in the show you're playing.
ESP http://eddiesclarinet.com
ESP eddiesclarinet.com
Post Edited (2009-05-01 15:32)
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Author: Hank Lehrer
Date: 2009-03-08 20:27
EP,
Agreed. But as a very experienced woodwind player (single and double reeds) I am sensitive that the core sound of each woodwind must be achieved before any embellishments can be considered. On sax, I actually use several types of vibrato (classic versus jazz/ballad) and appreciated the subtle nuances of each.
But having been more of a yeoman BC player in the past, the Forum book presents some interesting aesthetic challenges that I have not encountered before. And as usual, the BB members that I had hoped would post have done so in an extremely helpful way.
Forum Tonight (On the Trail Tomorrow) which is my weak attempt at a little comedy.
Thanks,
HRL
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Author: Don Berger
Date: 2009-03-08 22:52
What an interesting discussion, great info. I've played a number of BC, reed 4's etc, and the most challenging I recall was Camelot, which I played without vib. so a to not conflict with Arthur's or Lance's vibrato, feeling that my lowest notes, very low frequencies, seem to have their own vib ?? PM thots, Don
Thanx, Mark, Don
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Author: graham
Date: 2009-03-09 08:47
Does anyone use it in the lower register (other than in special effect situations where something corny is called for)? I would have thought it was more obvious to use it in the upper register where the bass can often sound too other worldly.
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Author: clarnibass
Date: 2009-03-09 08:52
>> Does anyone use it in the lower register <<
The answer to that is the same as my answer to whether I use it in the upper register... or any register: Sometimes.
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Author: Roger Aldridge
Date: 2009-03-09 12:16
Graham,
In particular situations I use vibrato in the lower range. As I mentioned before, when I do that I often have the sound of a cello in mind. I've worked quite a bit with string players over the years. I'll typically use a shallow vibrato that's on the subtle side. It's different from the styles of vibrato I use on saxophone.
Roger
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Author: Hank Lehrer
Date: 2009-04-30 11:43
Hi Everyone,
Back with some more BC vibrato info. I just began rehearsals for a HS production of Anything Goes (Beaumont Edition) and have some lovely things with the English Horn in a couple of spots. She has a great sound with a very nice vibrato. I, of course, am matching her style.
Also, there are some nice woodwind passages where some vibrato has been required by a rather weird thing. One of the woodwind players (a HS student) is playing all her clarinet cues on soprano sax and uses vibrato. The young musician does not play clarinet. I am trying to match her style.
The conductor has his hands full and is also the HS band director; I have not brought this aesthetic issue to his attention (I think he is a brass player as well). This is my first HS show with mixed pros and a few HS woodwind players so I am re-learning tolerance. She also reads during long breaks between tunes.
HRL
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Author: Hank Lehrer
Date: 2009-04-30 13:22
Hi Mitch,
Did you read the posts above? Some pretty decent BC players in this country do not seem to agree.
What's your experience playing shows with a mixture of saxes in the section and a lot of soli parts?
HRL
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Author: cigleris
Date: 2009-04-30 13:30
Hank,
I'm wondering why you are trying to match with someones style. Do you not have your own style? Just because a cor anglias player might have a lovely vibrato doesn't mean you have to copy that, unless of course you use vibrato anyway.
I find vibrato pleasing on any clarinet as long as it's tasteful and also if it's in keeping with the style of music you are playing, be it Jazz or Contemporary. I see you mentioned Anything Goes, well if I was playing that I'd add a little in keeping with the genre and style of the music.
Peter Cigleris
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Author: Hank Lehrer
Date: 2009-04-30 14:35
Hi Peter,
Yes, vibrato when doing soli (actually a duet) passages with cor anglias. And sometimes as the solo instrument under-scoring the vocalist with a lovely vibrato voice as appropriate. Other times, a straight and very legit tone. But the key is blend as a section player when needed.
I actually have loads of styles (see my response to EP's post) that I use on sax, particularly and as needed on jazz clarinet work. This setting is a little different.
However, Mitch above says "Bass Clarinet vibrato is rank. Enough said." So...
HRL
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Author: blazian
Date: 2009-04-30 21:26
Bass clarinet vibrato ranks... HIGH.
I haven't had much of a chance to use vibrato in my music. I've had a soli with an oboe and I had a chance to use it there. I turned heads ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif) . In the same song I had a solo on the low end (between low B and F#) that I used vibrato on too.
- Martin
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Author: Hank Lehrer
Date: 2009-05-01 03:31
Hi Martin,
With your sense of humor, you'll go far. Pretty funny.
But like all things, moderation and being appropriate for the musical situation is a major concern with good musicianship. Blending with the section is also of major importance.
I do a lot of sax work in quartets, combo, big band, pit, as well as wind ensemble (using soprano, alto, tenor, and bari in many settings). Vibrato, an expected tonal enhancement in most sax situations, is always different. My curiosity has been peaked with some of the shows I have done on BC lately.
HRL
PS I listened very closely during this evening's performance to when I thought vibrato was appropriate. The bulk of the playing is just straight yeoman Reed IV work but there are some really lovely moments to warm up the tone a tad (or as Larry B. says "judicious use..." and EP says "in good taste").
.
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