In the last issue, we outlined the physical characteristics of the vibrato and introduced the radical idea of illusions in the hearing of vibrato. The aforementioned illusions greatly favor the performer. In practising the v i b r a t o t e c h n i q u e , w e m u s t r e m e m b e r t h a t w e d o n o t h a v e the use of the laboratory with ad- vanced recording, photo and radio
equipment, etc. Therefore we must consider this study from the point of view of practise at home.
T h e v i b r a t o m u s t b e c o m e a n integral part of the sound. When this is an accomplished fact, player will feel that he is producing a natural vibrato. He will not be particularly conscious of the way in which he produces it, but will
be aware only of the musical situa- tion in which he applies it. The vibrato is a long term study and is rarely learned quickly. Like all other techniques, it is acquired in stages. It is unreasonable to expect a student to produce a perfectly fused vibrato in the lesson following its explanation. It is just as unrea- sonable to expect a complete change
92 WOODWIND MAGAZINE REPRINTS of vibrato without an accompanying
change in musical conception and a development of the other techniques in producin g sound and playing music.
The time to incorporate the use of vibrato in playing is the moment t h e i n s t r u m e n t a l i s t c a n t h i n k o f another factor and still handle the musical material at hand. This does not mean that a long and detailed explanation of the vibrato follows, but rather an attempt is made to have the instrumentalist produce a vibrato . A simple explanation to the effect that the singing quality of the sound is due to the vibrato, accompanied by a demonstration of a sound without a vibrato, and the sam e volum e of sound with a variation of vibrato in extent and rate will generally be all that is required to start a talented student on a new track. Sometimes it helps to have the student whistle or sing a vibrato; this being successful, he might try it on the instrument.
There is as much controversy be- tween players on the subject of pro- ducing a vibrato as there is disagree- ment on how it is heard. On wind instruments (except on saxophone, where a jaw motion is used), vibrato is produced by regularly increasing and decreasing the force (intensity) with which a given sound is being produced. This is done by using almost the same mechanism which t h e b o d y e m p l o y s i n p r o d u c i n g speech, the obvious difference being that in the case of wind instru- ments, we do not use the vocal c h o r d s . T h i s i s q u i t e s i m p l e t o demonstrate. If the student holds one hand on the diaphragm and shouts “ H e y ” l o u d a n d s h o r t , t h e d i a - phragm will move in. The softer we expostulate ,the lighter will be the action of the diaphragm. In each case the diaphragm pushes in. T h e m o m e n t w e r e l a x t h e d i a - phragm, the body muscles push it back to its normal position. This represents a pendulum-like action, the diaphragm pushing in, the body muscles pushing it back to normal. Its effect on a steady air stream is represented by the following dia- gram :
Of course this is not the only muscular activity which is employed in the production of the vibrato. In the same manner as the diaphragm
the body muscles set up a pendulum effect, so all along the air stream similar minor pendulum effects may be simultaneously located. However, the most important of these is the action of the diaphragm and body muscles, the strongest and most posi- tive of these pendular actions. De- pending on the resistance to the air characteristic of each wind instru- ment , different simple methods to educate muscular control of this pendulum effect have been devel- oped. Where there is greater wind resistance, the heavier muscles must be used more than the others. As this r e s i s t a n c e d e c r e a s e s , t h e l i g h t e r muscles along the air stream may be activated. Thus on bassoon, English horn and oboe, we find almost pre- dominantly a consistent use of dia- phragm vibrato. This does not mean the exclusion of the other factors in producing vibrato, but generally that in comparison with flute which has very little wind resistance, the lighter pendulum actions occur less fre- quently and to a smaller degree. This is so primarily because where there is great resistance to the wind, the weaker pendulum actions have no significant affect on the wind column.
In developing vibrato, we are concerned first with regularity. The vibrato must be absolutely free from irregularity due to lack of control. Variation in rate and extent of the vibrato together with variation in intensity of the tone are the means of developing a “tonal palette”. The way to develop tone color is to com- bine and exercise these factors. For a start, let us illustrate a straight tone as contained within the space of two lines, as below:
Vibrato in wind instruments is created by regular increase and de- crease in the intensity of the wind column. Let us represent this “pump- ing up” of a straight tone thus:
From this is abstracted the graphic vibrato symbol :
The method used to pump up a tone is to first stimulate the dia-
phragm and other muscles to set up a pendulum action. In the beginning, pronouncing “ha ” over the steady blowing produces the fluctuation of pressure necessary. There is the danger of not maintaining proper body support of the wind when using the repeated “ha”, “ha” to stimulate vibrato. The result is a cutting off of the wind and a knocking or beat- ing results :
However this will soon disappear with the development of the dia- phragm actio nwhich the “ha” ex- postulation is intended to create. Sometimes, gutteral noises are pres- ent. This indicates either too weak a diaphragm action and an over- e x e r t i o n o f t h e l i g h t e r , u p p e r muscles, or inadequate blowing. O T develo p regularity , the vibrato should first be practised in definite rhythmic groups, i.e., groups of two, three, and four pulsations, etc. Since we are “pumping up” and releasing the intensity to create the pulsations, it is of the utmost importance in practise to start at the lightest inten- sity level possible. This is so because it makes it easier to pump up the tone. Also, we are attempting to develop sensitivity and control over the body muscles which produce the pendulum action and it is easier to feel the change from a lighter muscular tension to a stronger ten- sion rather than vice-versa. This is extremely important. To illustrate, clench the fist as tightly as possible; then release the pressure as slowly as possible. It is very difficult to feel a gradual reduction in pressure. Now relax the hand for a moment and try it the other way. Close the hand very lightly and clench the fist tighter and tighter. Here we can feel great sensitivity with the in- crease in pressure, almost as though it were gauged.
In the beginning, a student must be allowed to make any kind of vibrato in any register. Most often it is easier to produce vibrato in the upper and middle registers on wind instruments. A routine for practising vibrato differs from player to player and instrument to instru- ment. However, the basic require- ment on all instruments are quite the same. A routine, for example, ‘may include :
1. For first attempt at vibrato, “pump up” long tones four to eight
IDRS JOURNAL 93
counts in slow definite pulsations at a low volume of sound in rhyth- mic groups of 2, 3, and 4.
2. After one week, the same exer- cise can be made a little bit more interesting and advanced by playing a two octave scale with two pulsa- tions per note up and down. This s t u d y i s a l o n g t i m e repair t h e tempo should increase gradually two pulsations per note. This works very well with students. It seems that is less fatiguing to play and easier for the average student to grasp than more pulsations in the group.
3. When the student has become proficient in making the two octave scales in vibrato, it is time to begin work with variations in rate and extent. These should be coupled with
variation in the intensity of the tone.
Exercise 1. S t u d e n t should p l a y
with light intensity (blowing lightly) a v i b r a t o i n s m a l l e x t e n t , i . e . , “pumping up” lightly.
Exercise 2. Same as exercise 1,
with wider extents but retaining light intensity o f t o n e . G r e a t e r f o r c e should be used on “pumping up”, releasing each pulsation to the orig- inal low intensity of the sound.
Exercise 3. Combine exercises one
and two with increasing intensity.
Exercise 4. Play exercises one, two,
and three with faster and slower rates, i.e., pulsations per second.
Exercise 5. P l a y crescendo-decre-
scendo from a straight low intensity,
adding a vibrato which is made wider in extent with the increase of intensity. Then play in reverse with wide extent at the high point, grad- ually reducing with the decrescendo. It may be helpful where a vibrato is too fast to slow it down by em- phasizing the activity of the heavier muscles. Practise with greater inten- sity, wider extent, and slower rate. If the vibrato is too slow,
with light intensity, narrow extent and increase the rate.
Sensibly applied these exercises form a good routine to develop vibrato. It is not possible to develop a finished technique quickly, but careful application should bring gradual reward and ultimately a comfortable control.