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Re: Vibrato

I would suggest the academics of "how to" of vibrator are irrelevant. 
Ultimately it is the customer (the audience) who will determine if it is
musicaly suited or a simply a distastful application of a technical element
of playing. In all things musical it is the intuitive adjustments a
sensitive player makes to communicate his minds eye (ear?) that determines
how well the emotion of the piece is communicated.  Attempts to describe
"when to", "how to", "if to" apply vibrato are at best approximations to
describe what the gifted musician knows intuitively.  Academic discussions
of vibrato may attempt to provide guideance to those who simply "don't know
when or how", however, searching insides oneself and as a musician playing
in a heartfelt manner will overide any academic irrelevancies.

----------
> From: Graham Young <gyoung@xxxxxxxx>
> To: Bill Buffam <brass-band@xxxxxxxxxxxxxxxxxx>
> Subject: Re: Vibrato
> Date: Saturday, April 15, 1995 6:24 PM
> 
> > 
> > >  Subject: Vibrato
> > > 
> > >  A very well known and respected Brass Band conductor, who was
formerly
> > >  Principal Trumpet with the London Symphony Orchestra INSISTS that
vibrato i
> > >  s applied to all notes in a melody/counter melody/lead part equally.
 He
> > >  detests the Frank Sinatra style of adding very wide vib at the end
of long
> > >  notes.  Vibrato will 'bring out' the sound when playing melodies and
any
> > >  note not played with vib will sound flat and lose it VIBrancy.
> > >  Play the notes simply, add the right amount of vib to each and the
music
> > >  will then take over and thoughts on HOW it is played should become
secondar
> > >  y to the listener.
> > > 
> > >  Phil Green
> > >  Britannia B.S.
> > > 
> > 
> > Hi Phil - taking a punt, from your band affiliation, it looks like
> > you're talking about Howard Snell. And I, for one, would love to hear
> > more about his methods. I've been listening with admiration to the
> > wonderful sound he gets (or got) from Britannia over the last several
> > years. Please tell us more.
> > 
> The problem with vibrato is that most players do not think of it as part
of the
> technical study of a brass instrument.In North America trumpet satudents
go out of
>  their way to eradicate any trace of it. Years ago I was takeing a lesson
with the 
> Russian trumpeter Timofei Dokschitser and asked him about vibrato.
> While many players add it as if it were a mild form Parkinsons He 
> demonstrated that he practiced vibrato like you would a scale.
> The aspects he showed included Tempo aand rhythm. He started with a very
narrow vib
> and varied the rhythm from very slow (minims to crotchets to quavers
etc)to fast 
> in a metronomic fashion.The next step was the width of the vibrato from 
> dead flat to very wide alwys wiithin a rhythmic framework.
> He practiced it as if it were a one note flexibilituy study
> Once yyou can adequately control it the next step is to apply it
musically
> within the context of the music. Ie in the Arutunian he used vibrato in 
> several different ways according to the context and it was all
deliberatly worked out like 
> a set of Baroque ornaments. this is a far cry from the universal
> nanny goat approach that gives the technique a bad name.
> 
> 
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