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Re: Vibrato

In message <3AB1C71D.D202697F@xxxxxxxxxxxxxxxx>, Steve Larwood
<larwood@xxxxxxxxxxxxxxxx> writes
>Last night after rehearsal, over a lemonade or two in the RBL, we got
>round to discussing the production of Vib.
>
>Quite apart from the seperate issue of how desirable it is or isnt in
>a Brass Band, there developed two camps.  Those who think Vib is best
>produced from the Diaphragm, and those who think it best produced from
>the chops (lower mandible).  Im ignoring for the moment, the
>opportunities afforded to the sludge-pumpers by their hardware and
>that has been discussed here recently.

These two methods give two different effects (and slide vib a third,
plus any other methods that are used) which come under the umbrella
heading of 'vibrato'. While slide vib oscillates the pitch of the note,
the two methods above oscillate the quality of the note, albeit in
differing ways.
A diaphragm vib varies the speed/pressure of the air column, resulting
in a change of strength of the note. A really strong diaphragm vib can
even cause the note to keep dying out and rearticulating; when I was in
Ireland last September, I saw a band play on the Rock of Cashel whose
Euph player was having quite a tough time with this - in trying for a
really profound vib, he was losing his note about twice a second.
A chin vib varies the aperture through which the air is expelled i.e. it
oscillates the intensity of the sound.
Both are called for, depending on the prevailing musical style. It's too
late at night for me to bring good examples to mind, but I don't think
that you can say one is 'better' than the other.
Both have disadvantages - I outlined one with diaphragm vib above, but
you tend to also get a sheepy noise in the throat which can be quite
offputting; chin vib is (IMO) harder to learn, and certainly harder to
produce on the larger instruments, as a much larger chin movement is
required to wobble adequately, and is thus quite easy to lose control
of.

>
>I hadnt thought about it before, but on closer inspection in my case I
>find it depends.  Im not clear why it happens at my Chops or my
>diaphragm, it just appears to vary on the type of solo/exposure being
>played at the time.  As a generalisation in last night's debate,
>Diaphragm supporters tended to be lower brass and chops tended to be
>Cornets.

I think this supports my point above - chin vib is easier to produce
successfully on smaller instruments, whereas a diaphragm vib is easier
to produce on the larger ones. From observational evidence, the
watershed (vibratoshed?) would seem to come around about the Baritones.
Also, if you've got good musical ears, you'll be able to hear when a
type of vib is inappropriate, and will tend to naturally employ the
'best' sort you've got at your disposal.

Dave


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