Re: Vibrato

[AGREENBA <AGREENBA...>]

In a message dated 8/29/03 12:29:40 PM, xd2fabl (at) us(dot)ibm(dot)com writes:


> My understanding is that when singing,
> one should do nothing to create, encourage, discourage, or affect vibrato -
> that if the voice is produced correctly the vibrato will be correct, and
> that if the vibrato is too fast or otherwise "funny" there's something
> wrong with vocal production.  So discussion of vibrato from the diaphragm,
> throat, etc. would be moot.  Weigh against this that I was taught to sing
> choral, folk and early music without vibrato.  Any dissent?
> 

Exactly my own understanding, which always prompted me to ask the obvious: If 
you are singing "correctly" and therefore produce a "good" vibrato, how do 
you then sing "incorrectly" to have it be straight? We instrumentalists, of 
course, are totally fine with this issue because we produce our vibrato via a 
means; it doesn't just happen and certainly doesn't just happen because we're 
playing "correctly." 

I've since looked up some interesting articles about vibrato and its use in 
17th-20th century music and there certainly is lots to read and interpret and 
perhaps cross over into current usage for klezmorim. Reasons, ways, tremmors of 
the breath, of the fingers. I'm glad this dialogue is opened. It made me also 
look again at an article I had saved in my files: http://www.standings
tones.com/flutevib.html

Adrianne
______________________________________________
Adrianne Greenbaum
Associate Professor of Flute, Mount Holyoke College
Klezmer flutist: “FleytMuzik” and “Family Portrait”
Classical: "Sounds of America"
fluteworld or cdbaby