STME58
574 posts
Nov 05, 2013
8:55 AM
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One of the things I like about a forum like this is that people bring a wealth of experience from a wide array of disciplines that I might not otherwise come across. In that spirit, I offer the following article I came across on a trombone web site. I was surprised how much it relates to harmonica. I probably should not be surprised, music is music, whether played on a Stradivarius or a kazoo.
Below is an excerpt from an article by Walter Barrett.
the whole article is at Vibrato Guidelines
"Vibrato Guidelines
These are some general suggestions for using vibrato:
Don't use vibrato in unison passages. It only makes the section sound out of tune with each other and gives the passage a wobbly kind of sound.
Be able to turn it on or off, or use a different style. As with any musical effect, or technique, the performer should be in complete control of it at all times, in order to fit into the demands of the music being played.
In general, orchestral players use less pronounced vibrato, if at all. Vibrato can help the sound project, without playing louder, and it can help center the tone and pitch in a section, but current taste says that it should be barely noticeable. Older recordings of French orchestras have quite a bit of vibrato, but tastes are changing as orchestra styles become more uniform.
In a section, follow the lead's example. As always, LISTEN to the lead, and do it the way he or she does, only a little bit less! As a section player, your role is to SUPPORT, not overshadow.
Don't use vibrato to cover up bad intonation. Remember that vibrato is going slightly above and below the correct pitch. If you are out of tune, it can magnify the error.
The lower you go, the slower you go. Most players use a slower, narrower vibrato on low notes, and faster and wider on high notes. More rapid passages are often played with a faster vibrato than a slow passage.+
Last Edited by STME58 on Nov 05, 2013 8:56 AM
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