Mozart's Bassoon Concerto, 15
Vibrato Mechanisms
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This video presents research on vibrato mechanisms by Profs. Jan Eberle, Christopher Weait, Scott Pool, and others. By Terry B. Ewell, Bassoon Digital Professor.
The original transcript is available here.
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00:00Introduction
Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Music Music Welcome. This is Terry Ewell. This is the second of four videos dedicated to vibrato in the Mozart Bassoon Concerto. In the prior video, we reviewed historical materials and concluded that during Mozart's time the application of consistent vibrato was not typical. In this video, I will present an overview of the body components or mechanisms by which vibrato can be produced.
00:54Jan Eberle
First, I want to recommend publications on vibrato by Prof. Jan Eberle of Michigan State University in the USA. She provided two presentations at International Double Reed Society Conferences in 2005 and 2006 and published an important article on the subject. International Double Reed Society (IDRS) members can view her presentation on video at this link: - 2005 IDRS Conference, The University of Texas at Austin link, IDRS members only Her article is available to IDRS members at this link: - Jan Eberle. "Vibrato: No Longer a Mystery!" The Double Reed 29/3 (2006): 128–130. link, IDRS members only
01:34Nine Types of Vibrato
In the presentations and article Prof. Eberle notes that there are nine ways to produce vibrato on the modern oboe. All of these methods also apply to the bassoon. 1. Hand 2. Jaw 3. Tongue 4. Diaphragm 5. Whistle 6. Sister 7. Laugh 8. Cough 9. Vocal Please notice that flattement or finger vibrato presented in the last video is not listed here.
02:19Wind Performer's Guide to Increasing Endurance
In this video, I will use figures presented in my monograph Wind Performer's Guide to Increasing Endurance to illustrate Prof. Eberle's types of vibrato. I will retain the same figure numbers as in the publication. Wind Performer's Guide to Increasing Endurance link
02:38Hand Vibrato
Hand vibrato indicates shaking the instrument in order to create vibrato. This is a technique employed by many trumpet performers; however, it is not recommended for double reed players.
03:05Jaw Vibrato
Jaw vibrato requires movement of the mandible. Moving the jaw in rapid chewing motions will alter the tone with vibrato. This vibrato is employed by several bassoonists; however, it produces wide variation in the pitch of notes. I do not recommend this vibrato.
03:40Tongue Vibrato
Prof. Eberle indicates that tongue vibrato occurs in the region of the tongue near the soft palate. Saying "yo, yo, yo..." rapidly approximates this tongue vibrato. I do not recommend this type of vibrato. The tongue already has enough to do with articulation and tuning by means of vowels.
04:19Abdominal or Thoracic Vibrato
The next type of vibrato is incorrectly labeled by Prof. Eberle. The diaphragm is a muscle that brings air into the lungs and physically it cannot be employed for vibrato. Instead, this vibrato should be labeled "abdominal" or "thoracic." This vibrato is created with quick pulsings of the abdominal and intercostal muscles, which force air out of the lungs. Many wind players are told that this is the only and correct means by which to produce vibrato. The problem with this type of vibrato is that it is quite slow.
05:21Components of Tone Production
Before we move on, let's examine the five components that are employed for tone production or articulation. We have the lungs and associated muscles, the throat area, the back of the tongue near the soft palate, the front of the tongue, and the jaw. With the exception of the front of the tongue, Eberle indicates that all of these may be employed for vibrato.
06:23Independent Vibrato Mechanisms
She and I agree, however, that it is best to use mechanisms for vibrato that are independent of the other demands of performance. The lungs and associated muscles need to be employed for dynamics, the back of the tongue for tuning or double tonguing, and the jaw and embouchure for tuning and dynamics. This leaves us with the throat area as a source for vibrato that is independent of all of the other demands of the instrument.
07:33Five Throat Vibratos
Prof. Eberle recommends using only the last five items on her list as an appropriate means of producing vibrato. Note that all of these vibratos are presented in the region of the throat. Eberle's insight into vibrato is that there are varied ways to use mechanisms in the region of the throat to create vibrato. This point of view has been confirmed by videofluorographic studies.
08:20Videofluorographic Research
My book chapter "Survey of Cinefluorographic and Videofluorographic Research on Double Reed Performers" provides an overview of "X-ray motion pictures" taken of performers while playing double reed instruments. One of the most interesting conclusions from the studies was that professional double reed performers do not make use of the same mechanisms to produce vibrato. Reference Terry B. Ewell, "Survey of Cinefluorographic and Videofluorographic Research on Double Reed Performers." In Celebrating Double Reeds: A Festschrift for William Waterhouse and Philip Bate (Baltimore: International Double Reed Society, 2009), pp. 143–157.
09:03Throat Muscles
The muscles and structures in the region of the throat are complex and varied. Vibrato is produced by one or more of the muscles. Sometimes multiple muscles produce the vibrato in tandem.
09:30Whistle Vibrato
The "Whistle" vibrato is made with muscles under the chin.
09:42Sister Vibrato
The "Sister" vibrato is made in the upper throat in the lower tongue region. The sound "sis" is repeated.
10:01Laugh Vibrato
The "Laugh" vibrato can be simulated with "ha, ha, ha" sounds. It is located further down the throat.
10:20Cough Vibrato
The "Cough" vibrato is simulated with coughing sounds. It is located yet lower in the throat.
10:40Vocal Vibrato
The "Vocal" vibrato is produced in a manner used by most singers. Prof. Eberle notes that this is the most common vibrato. This vibrato is created by fluctuations in the vocal folds.
11:15Research Confirmation
Many double reed performers are surprised to learn that most performers produce vibrato in the throat region, most often with the vocal folds. However, research by Christopher Weait, Scott Pool, and their colleagues has demonstrated that this is the case. I encourage you to further study their fine research. References - Christopher Weait and J. Shea, "Vibrato: An Audio-Video-Fluorographic Investigation of a Bassoonist," Applied Radiology (January/February 1977). - Christopher Scott Pool, Observations of the Larynx during Vibrato Production among Professional Bassoonists as Indicated in Experiments Utilizing Fiberoptic Laryngoscopy. D.M.A. dissertation, The University of Arizona, 2004. ISBN 0-496-90694-1. - Christopher Scott Pool, Bassoon Vibrato Production. Lambert Academic Publishing, 2010.
11:58Additional References
Also, here are additional references that you might find useful. Additional References - Brown, Andrew F. David. A Comprehensive Performance Project in Oboe Literature with a Cinefluorographic Pilot Study of the Throat While Vibrato Tones Are Played on Flute and Oboe. D.M.A., The University of Iowa, 1973. - Carr, Walter Edward, Jr. A Videofluorographic Investigation of Tongue and Throat Positions in Playing Flute, Oboe, Clarinet, Bassoon and Saxophone. D.M.A., University of Southern California, 1978. - Gossett, Claude W., Jr. A Spectrographic and Electromyographic Investigation of the Relationship of the Effects of Selected Parameters Upon Concurrent Study of Voice and Oboe. Ph.D., University of Southern Mississippi, 1977. - Kahane, J. C.; Beckford, N. S.; Chorna, L. B.; Teachey, J. C.; and McClelland, D. K. "Videofluoroscopic and Laryngoscopic Evaluation of the Upper Airway and Larynx of Professional Bassoon Players." Journal of Voice 20/2 (2006): 297–307. PubMed Abstract ### 12:06 Summary
12:06Summary
In summary, the muscles and structures in the throat are the best region for the production of vibrato. This is confirmed by Profs. Eberle, Weait, Pool, and others. The way in which the vibrato is produced in the throat, however, may differ from player to player. In the next video, we will discuss how to practice vibrato. Music: "Mozart Mashup" with Terry Ewell and Elaine Ross.
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- author Terry B. Ewell
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- Copyright 2015-22 by Terry B. Ewell.
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