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12

When I first started working on lead guitar, I spent a lot of time just listening to famous players phrasing and vibrato. I knew that an important part of playing lead was developing a "voice" for my guitar, that stood out, was pleasing, and sounded natural. One of the attributes of vocalists who's style I like is a more relaxed vibrato. Some singers have ...


8

All of the brass teachers I know (including myself) teach the jaw method. I find it preferable to the other two methods because: Diaphragmatic vibrato is going to disturb your support and airstream. Moving the fingers back and forth is just smushing the mouthpiece against your face, which runs the risk of fatiguing your embouchure earlier or letting air ...


7

Since the recorder is a type of flute that doesn't have an embouchure which affects pitch, all you have control over is the speed of the airstream. As a result, recorder vibrato is executed by adding pulses to the airstream at a regular interval. Since the airstream should be driven by the diaphragm, we call this diaphragmatic vibrato. Locate your ...


6

To me, Vibrato is divided into 2 parts: Physical Phrasing PHYSICAL Beginners usually get shown techniques where the string is moved laterally across the strings or in the same direction as the strings. What I end up seeing is a student who is confused as to what their hand and finger(s) are actually meant to do to the string to produce the desired ...


6

Vocal style I think the confusion here is that there are many different kinds of vibrato, with playing techniques that differ from instrument to instrument and a style and nature that relates both to the instrument and the style of music you are playing. In general, the "classical voice" has a wide unconstrained vibrato, while the "jazz/pop" voice has a ...


5

From a personal perspective, my vibrato started coming out after learning good breath support from the diaghram. If I kept my throat relaxed and held a note in a comfortable area of my voice range, the vibrato would kick in. It almost felt like hitting a sweet spot - a balance between diaghram control and vocal chord control. Once I could evoke it ...


4

I think you're definitely magnifying the problem beyond it's perceptibility, vibrato is generally much too fast for the instantaneous difference to be heard at all. In fact, it's generally much easier to be in tune with vibrato than without. The natural fuzziness of a vibrated pitch generally makes it blend more pleasingly and there's nothing more difficult ...


4

Long fingernails would present a problem to violinists, since they would interfere with the correct finger posture and prevent the finger-tip pressing the string to the finger-board, but these problems would show up even without vibrato. And your fingernails do not look too long. My advice would be to see a teacher and to just keep trying. Try slow ...


4

Vibrato is pretty easy to define because there is one widely agreed-upon definition: a deliberate, regular, periodic change in pitch (like a controlled warble), generally much less than a semitone, sometimes as much as a quarter-tone or more up and down. Vibrato is commonly used as a performance technique by vocalists (including opera singers), players of ...


3

There is indeed! (at 1m46s) I don't believe they're widely manufactured though, not from what I could find


3

Start by giving yourself the most advantage: Location on a string: Start with all your fingers fretting notes on the same string in the middle of the neck. The closer to the 12th fret you are, the more it is possible to move the note. String selection: Start with a string where you can get a good grip on the string (a wound string). I recommend the 4th ...


3

Vibrato was and is known as two different techniques: Rou Xian and Yaxian. The below excerpt from Samuel Wong's erhu research explains the two techniques: 揉弦 Rou Xian (Vibrato) Vibratos can be effected by: i. Using finger pressure to suppress the string, increasing and decreasing its tension. This technique is also known as 压弦 yaxian and this ...


3

Tremolo is essentially a variation in volume, vibrato in pitch. They are nicely separated with bowed strings where "vibrato" is done by a variation in the fingering hand, and tremolo is done by a rapid back-and-forth of the bow on the same spot. However, lots of instruments have things they call "tremolo" or "vibrato". There is also the non-instrument ...


2

Vibrato is more or less a natural phenomenon once you are singing with nice support and a relaxed larynx. It's absurd that you would have to learn it at some given age: it more or less comes with a well-tended voice at whatever age. Vibrato can be produced somewhat artificially by conscious breath and throat actions but that is rarely convincing and often ...


2

Well, I don't think the first claim is true. I didn't know how to do vibrato until I was 19. I'm 23 now and I'm still improving it. And I have a very low pitch voice. My dad learned how to do vibrato only in his 50s. But, I don't really know how I really learned it. I was experimenting with my voice one day, and it got easier the more I played with it. It's ...


2

Good question and an important one --rather than offering my own personal views I suggest that one start by listening widely to other players, and not only bassoon players. For example, the fluctuation in pitch that is so characteristic of vibrato on the cello or violin may not be as attractive on the bassoon ---listen to terrific players and start to form ...


2

I'm not exactly sure what action you're making, but the proper vibrato action is similar to that used on guitars - classical, rather than electric.Although the recognised classical vib. action works on electric, too. Making a claw shape, knuckles up, rest your fingertips on a hard surface - a table, maybe.Lift up three, leaving one tip on the table.Middle ...


2

Vibrate your soft palette to interrupt the airflow - a back-of-the moth growl applied to a Scottish ch "loch" consonant. Your tonguing and embouchure continues uninterrupted, also learn to move the airflow around your mouth (much as you probably do in adjusting your embouchure to sometimes play from the side of your lips to get a stronger attack).


2

Since asking the question I have discovered an excellent series of tutorials on classical guitar vibrato technique by Douglas Niedt. Here is a link to the first video. One technique he describes (which I did not know was possible) is adding vibrato on open strings and harmonics by fretting the same note, maybe in a lower octave, on another string and ...


2

Isolated practice is the only way I know. Bend a string up one fret, apply slow vibrato. Relax. Bend up two frets, apply slow vibrato, relax. Repeat every day until the vibrato becomes easier and you can increase and control the vibrato speed. Most of the time there are no shortcuts.


2

The vibrato in this case is usually to bend a note up, say, one fret, then let it relax and re-tension it a few times. You don't always have to let it back to the ordinary fretted note, it could be relaxed half a fret down, but then it only needs to be bent back to the target note. Again, with a two fret bend that is given vibrato, it may need to go to a ...


1

If it's anything like saxophone (which I'm sure it is) you just gotta add some controlled pulses in your air flow. Kinda like 'who who who'...


1

I'm not entirely sure I understand your problem, your fingernails look fine to me. In my experience with vibrato, when you use a wrist motion, your finger will oscilate more than it would with a forearm motion. Try to make sure you never go higher than the pitch you intend - only lower. I don't know if I expressed myself clearly, it's one of those things ...


1

I'm not sure this is really an answer, but probably I'll ramble on for way too long to be a comment. Tremelo/vibrato can be stylistic or masking; blending or highlighting. Genre will also dictate which of these may be 'compulsory' for that style. Opera, for instance, appears to make it almost mandatory [not a genre I'm a fan of] I've heard many instances ...


1

Some of the Bigsby vibs will do the job.Particularly those designed for semis. They may be kinder to an acoustic guitar because they attach to the part of the guitar where the knob is for the strap, rather than on the belly itself. Watching the above video, it was difficult to tell whether the soundboard was being moved as the arm worked, or whether it was ...


1

I was taught by some splendid teachers that a relaxed voice will produce a moderate, pleasing vibrato, or spin. It is actually more work to produce a flat (not pitch wise) tone, though some music styles call for it, and it is often desirable for certain choral work. The natural spin is to be distinguished from a manufactured vibrato that requires a real ...



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