Author: Oboe Craig
Date: 2011-03-17 20:17
Interesting articule and responses to this thread Chris.
Something I don't think came up in the discussion is how a practice routine coupling vibrato to long tones can be useful.
Adding vibrato to a crescendo after starting the tone w/o vibrato is one thing.
Another is under decrescendo also reduce the vibrato (either the amplitutide of it or speed or both).
I saw some comments about sort of a rule to not use it on soft parts. I think I tend to use it there if it matches the woodwind section, usually flutes and bassoons.
For solo lines, I use it for sure, and like to stop the vibrato if there is a decrescendo approaching a phrase ending, then add it back right at the end just a little.
It makes an interesting thing happen as the note dissolves away like a wisp of smoke in the air.
Not as easy on the low notes, say low c# and below, but it works really well up to high D, and sometimes a little higher, though not a lot of solos end up there.
Back to practice benefits. It really fine tunes the very slight changes in breath support to do this on soft notes and soft high notes especially. At the softest parts the pitch must not sag, and that is an indication of proper support.
Plus, doing this tests the reed's ability, too. And that might be the topic break for another thread or video demo.
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