Some of the contents of the pages on this site are Copyright © 2016 NJH Music | [Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index] Vibrato (was Re: The ISB)
Kristopher Richardson u wrote: > > (snip) > listen to the ISB over some competition bands because they don't have an > excessive amount of vibrato! Could someone explain why European bands > have so much vibrato! I realize that it is traditional, but I think > there would be greater demand if they caught up with the times, > especially with orchestral players! I go to school for music and study > trumpet. I usually introduce brass banding to my peers! The first thing > they mention is the vibrato! It could be executed a little more tastefully, > as it is an essential part of being musical. All they need to do is slow > it down a bit! This is however just my opinion! > > Kris > > Ah, a vibrato thread. It would be good to get some opinions out on this most contentious of issues. Seems to me that vibrato is a matter of very personal taste. I always find it more than a little ironic that many orchestral players (of all insruments) deride brass bands for their vibrato - yet the string players play *everything* with vibrato! (And that's personal taste too, not a global given. When McCartney and the Beatles recorded "Yesterday", they used a string quartet. To get the sound he wanted, McCartney insisted the string players use no vibrato. They complied, but were very upset about it.) To me, a euphonium played totally straight, without any vibrato, sounds like something floating down the Thames (and this is not a complimentary comparison). On the other hand, several trumpet players from the top ranks of the supposedly vibrato-averse orchestral world use (or used - the guys I'm thinking about have since retired - or were retired) a very unpleasant form of vibrato (to my ears, that is - I have participated in heated cyber-debate over the musical merits of one of these gentlemen). Seems to me that one's perspective on vibrato has a lot to do with preconceived notions of the functions of brass tone, and the context of the music. If you're used to hearing brass in an orchestral context, where heavy vibrato is often muscially inappropriate, there's a danger of mapping this preconceived notion of brass sound onto other musical contexts: to wit, brass bands. If you take an orchestral piece, and transcribe it for brass band, what happens? The orchestral arrangement is played by violins using vibrato - translate to brass band, and the cornets need to sound like violins (warm, with vibrato), not trumpets. (If someone wants to open up the tangent on the merits or otherwise of orchestral transcriptions, that's a whole 'nother thread - and might be an interesting one.) Are the vibrato-averse telling us that vibrato is okay for violins, but not for cornets, *on the same piece of music* ??? One last observation before I bring this ramble to an end: American brass players tend to think British bands use too much vibrato; British brass band players hear American brass bands as having no warmth, no soul (because their sound is so straight). It's the personal taste thing again. Bill Buffam -- unsubscribe or receive the list in digest form, mail a message of 'help' to listserv@xxxxxxxxxxxxxxxxxxx
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