*________Bakkwa. A saxophone enthusiast. But has given up practicing due to one reason or another.___________*
Thursday, June 26, 2008
「 dancing away 10:44 PM 」



The vibrato as a double edged sword. An excessive vibrato results in the audience deeming you as a gyrating vibrator. Too sublte or little and it can't be heard. In Tanaka-sans DVD, he mention that the effect of the vibrato should vary not only in amplitude, but also frequency and volume. So i.e. it can vary in in 3 aspects pitch, frequency and volume... The best way to determine whether the vibrato is apt is to determine the type/ period of music you are playing and to emulate performers of from that time/era.

"The pitch should change when using vibrato. Even with diaphragm and vocal vibrato, there is a change of pitch, as well as a change in amplitude. Saxophone vibrato, according to many sources, seeks to emulate string vibrato, which is a change in pitch. Saxophone players generally use a jaw vibrato. When singing or playing flute, there is very little resistance, and so it is easier to control the vibrato. With the resistance of the saxophone, it is easy to get the throat involved, producing a 'nanny goat' kind of vibrato.

The best way to learn vibrato is to emulate your favorite player.

Use your ears. That's why you have two"

The issue of "vibrato" has been bugging me for a fair bit of time. It makes me wonder whether a technical vibrato after every note is what we call "being musical". "Being musical", i suppose, is a fact sensitive issue and there is no fool hardy formula which fits every equation, not even a template of general use.

This is irritating me. Is there a need to do a perpetual vibrato? Does "being musical" mean that every note longer than a minim requires/ necessitates a vibrato? Shouldn't it depend on what is apt in the circumstances? Worrying... totally...

...Bakkwa...
Feeling worried not just about results but also NBC