How do you feel about vibrato?
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Just listened to this. It's not the original, but it captures the mood and the time:
'62 Olds Studio Trumpet
'67 Olds Special Trumpet
2013 Dillon Pocket Trumpet
'83 Yamaha YFH-731 Flugelhorn
1919 York Perfec-Tone Cornet
'50 Olds Studio Trombone
Shofar"If it was just up to me, I'd only have trumpet players on my show." - Jackie Gleason
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@FranklinD
I "think" that was the Paul Weston band of the early 50s. Sounds like a Harry James admirer but I don't think that was him.
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@J-Jericho said in How do you feel about vibrato?:
Just listened to this. It's not the original, but it captures the mood and the time:
Did anyone notice the "stem in" Harmon mute starting at 2:41? ... and we all thought the stem in a Harmon was just a cheap trombone mouthpiece that needed to be removed....
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@FranklinD said in How do you feel about vibrato?:
Yes you are right. I own the 78rpm record of this number (Columbia) and it says: With orchestra directed by Paul Weston. This was probably the B-side of the record, the A-side contents a more commercial number: Kiss me goodbye love.
Wikipedia mentions Harry Edison and Ziggy Elman as a possibility.I have a few records featuring Ziggy and, at least in 1951, he sounded almost exactly like Harry James with that exaggerated vibrato of his. I'm not no sure that is Ziggy playing with Doris, though, because the vibrato doesn't sound exaggerated. But Ziggy did play with Weston at that time, so maybe it is him.
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@Kehaulani said in How do you feel about vibrato?:
I read about instrumental vibrato imitating the human voice, but who's to say that the voice used little or copious vibrato?
What the human voice does is often put into the context of modern reflection. But who is to say that vibrato is natural to the human voice?
Yes, vibrato is natural to the human voice. We can learn to control it. When I took voice lessons (first counter tenor then tenor), everything below let say mezzoforte was easy to control. At Puccini or Verdi orchestral levels, you have no choice.
Generally we can look at folk music for models. European, east european and asian folk music shows abundant use of vpcal and instrumental techniques. Old pipe organs have a stop "Vox Humana" (16th-18th century) which seeks to imitate vibrato. So even if we have informed historical performing practice with little or no vibrato, the organ builders told a different story.
Here is a good write up with a moderate view: https://www.earlymusicamerica.org/emag-feature-article/vibrato-wars/
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@ROWUK said in How do you feel about vibrato?:
@Kehaulani said in How do you feel about vibrato?:
I read about instrumental vibrato imitating the human voice, but who's to say that the voice used little or copious vibrato?
What the human voice does is often put into the context of modern reflection. But who is to say that vibrato is natural to the human voice?
Yes, vibrato is natural to the human voice.
Told yah TobyLou!!! If Rowuk says it, it must be so young Grasshopper.
Allora Pocket Trumpet 2014
Harrelson Summit 2017
Kanstul 1526 2012
Getzen Power Bore 1961
Getzen Eterna 4-Valve Fulgelhorn 1974
Martin Committee 1946
Olds Super Recording 1940
Olds Recording (LA) 1953
Olds Recording (Fullerton) 1967
Olds Ambassador 1965 -
Now that's what I was looking for, thanks, rowuk!
So, basically, discussing vibrato performance practices are the same as a Kenny G, thread on Sax on the Web.
Benge 3X
Martin Committee
Getzen Capri Cornet
Adams F-1 Flugelhorn"If you don't live it, it won't come out of your horn."
Charlie Parker"Even if I could play like Wynton Marsalis, I wouldn't play like Wynton Marsalis."
Chet Baker -
@Dr-GO said in How do you feel about vibrato?:
@ROWUK said in How do you feel about vibrato?:
@Kehaulani said in How do you feel about vibrato?:
I read about instrumental vibrato imitating the human voice, but who's to say that the voice used little or copious vibrato?
What the human voice does is often put into the context of modern reflection. But who is to say that vibrato is natural to the human voice?
Yes, vibrato is natural to the human voice.
Told yah TobyLou!!! If Rowuk says it, it must be so young Grasshopper.
I will stick to my Opera singer that sang at the Met.
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@Kehaulani said in How do you feel about vibrato?:
Now that's what I was looking for, thanks, rowuk!
So, basically, discussing vibrato performance practices are the same as a Kenny G, thread on Sax on the Web.
I think that we have to be careful. All of my studies on Historically Informed Performances show that those who wrote books hundreds of years ago weren't always objective. We have to look at many different sides to get a picture that lets us make an educated guess.
I believe that there has ALWAYS been natural vibrato and only by force, can we limit it. The consummate trumpeter needs it all, but when I show up at the HIP gigs, the conductor determines what we do. I do not like confrontation during rehearsals - even if "he or she" calling the shots is NOT informed.
I am personally more interested in how vibrato was used as an ornament (instead of as a standard parameter of tone). Bach, for instance has several excerpts that imply a special tremolo or vibrato. They are written as a series of static notes (one pitch as 8th notes for instance - see Christmas Oratorio first Chorus B part for an instance) with a slur.
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Vibrato should be something we are always aware of in our playing. When we become aware, we gain control.
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*administrator GLOBAL MODERATOR about 14 hours ago
Vibrato should be something we are always aware of in our playing. When we become aware, we gain control.*
I was subbing in a dance band yesterday afternoon, playing second part. first and thirds were trading back and forth and the section sound was "weird". I found myself using vibrato unconsciously where i would not normally use it, not only that but i was using finger vibrato which i seldom use. So i stopped it. I agree with the being aware to gain control comment.
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Of course one should always have a general awareness of everything one is doing, but I believe, unless needed for unusual conditions, vibrato should be unconscious, i.e. spontaneous and intuitive .
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@administrator I'm conscious of vibrato during rehearsals and practice, but in performance, I concentrate on the whole package, without focusing on the little parts.
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@Vulgano-Brother said in How do you feel about vibrato?:
@administrator I'm conscious of vibrato during rehearsals and practice, but in performance, I concentrate on the whole package, without focusing on the little parts.
Certainly. I would advocate a holistic awareness to our playing. Very few things can improve our playing more quickly.
