Vibrato is a musical effect consisting of a regular pulsating change of
pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterised in terms of two factors: the amount of pitch variation ("extent of vibrato") and speed with which the pitch is varied ("rate of vibrato").
Vibrato and tremolo
illustrating the difference between tremolo and vibrato.]]
The terms vibrato and tremolo are sometimes used interchangeably, although the strict definitions of each describe them as separate effects: vibrato is a periodic variation in the pitch (frequency) of a musical note, whereas tremolo usually refers to periodic variations in the volume (amplitude) of a musical note. In practice, it is difficult for a singer or musical instrument player to achieve a pure vibrato or tremolo (where only the pitch or only the volume is varied), and variations in both pitch and volume will often be achieved at the same time. Electronic manipulation or generation of signals makes it easier to achieve or demonstrate pure tremolo and/or vibrato.
There are some instances where one of the terms (vibrato, tremolo) is used to describe the effect normally associated with the other term. For example, vibrato is sometimes referred to as tremolo, notably in referring to the vibrato arm of an electric guitar as a "tremolo arm", which produces variations of pitch. Conversely, the so-called vibrato unit built in to many guitar amplifiers produces what is known as tremolo in all other contexts. See vibrato unit for a detailed discussion of this terminology reversal.
A Leslie speaker (best known through its historical and popular association with the Hammond organ) creates vibrato as a byproduct of tremolo production. As a Leslie speaker is moved by the rotating mechanism on which it is mounted, it moves closer to or farther away from any given object (such as a listener's ears) not also mounted on the mechanism. Because amplitude varies directly with sound pressure (A = k1P) and sound pressure varies directly with distance (P = k2d), such that amplitude also varies directly with distance (A = k1(k2d) = k1k2d), the amplitude of the sound as perceived by the listener will be greatest when the speaker is at the point in its rotation closest to the listener and least when the speaker is farthest away. Because the speaker is constantly moving either toward or away from the listener, however, the mechanism's rotation is constantly affecting the listener-perceived sound's wavelength by either "stretching" the wave (increasing wavelength) or "squeezing" it (decreasing wavelength) -- and because frequency, i.e., pitch, is inversely proportional to wavelength, such that increasing wavelength decreases frequency and vice versa, any listener for whom the speaker's motion changes the sound's perceived amplitude (i.e., any listener whose distance from the speaker is changing) must also perceive a change in frequency.
In many cases a singer resorts to pure tremolo vibrato, also called “Billy-goat” vibrato. In proper, vocal vibrato the vibrato frequency is a multiple of the beat frequency of the music (see below). Almost always, a tremolo vibrato is not and proceeds at its own, independent rate.
Acoustic basis
The use of vibrato is intended to add warmth to a note. In the case of many
string instruments the sound emitted is strongly directional, particularly at high frequencies, and the slight variations in pitch typical of vibrato playing can cause large changes in the directional patterns of the radiated sound . This can add a shimmer to the sound; with a well-made instrument it may also help a solo player to be heard more clearly when playing with a large orchestra.
This directional effect is intended to interact with the room acoustics to add interest to the sound, in much the same way as an acoustic guitarist may swing the box around on a final sustain, or the rotating baffle of a Leslie speaker will spin the sound around the room.
Typical rate and extent of vibrato
The rate and extent of the variation in pitch during vibrato is controlled by the performer. The extent of vibrato for solo singers is usually less than a semitone (100
cents) either side of the note, while singers in a choir typically use narrower vibrato with an extent of less than +/- a tenth of a semitone (+/- 10
cents) This however, does not give anything more than an indication of Mozart's own personal taste, based on the fact that he was an educated late
Rococo/Classical composer. Mozart acknowledges the difference between the heavy, ornamental vibrato that he finds objectionable, and a more continuous application of the technique less obtrusively for purposes of improving tone quality (in which case he does not refer to it as "vibrato" or "tremolo" at all; describing it merely an aspect of correct fingering). In this respect he resembles his contemporary, Francesco Geminiani, who advocated using vibrato "as frequently as possible" on short notes for this purpose. Although there is no aural proof, as audio recordings were not around for more than 150 years, that string players in Europe did not use vibrato, its overuse was almost universally condemned by the leading musical authorities of the day.
Certain typtes of vibrato, then, were seen as an ornament, but this does not mean that it was used sparingly. In wind playing too, it seems that vibrato in music up to the 20th century was seen as an ornament to be used selectively. Martin Agricola writing in his Musica instrumentalis deudch (1529) writes of vibrato in this way. Occasionally, composers up to the baroque period indicated vibrato with a wavy line in the sheet music. Again, this does not suggest that it was not desired for the rest of the piece any more than the infrequent use of the term in 20th century works suggests that it is not used elsewhere.
Vibrato wars
Music by late
Romantic composers such as
Richard Wagner and
Johannes Brahms is now played with a fairly continuous vibrato. However, some musicians specialising in historically informed performances such as the conductor
Roger Norrington argue that it is unlikely that Brahms, Wagner, and their contemporaries, would have expected it to be played in this way. This view has caused considerable controversy. The view that
continuous vibrato was invented by
Fritz Kreisler and some of his colleagues is held to be shown by early sound recordings, which allegedly demonstrate that vibrato appeared only in the 20th century. Against this are cited sources which are said to prove that early 19th-century Viennese string players like
Franz Clement and
Joseph Mayseder were noted for their tasteful use of vibrato. These musicians (and the two
Hellmesbergers) are said to represent the school on which Fritz Kreisler based his stylistic approach.
The alleged growth of vibrato in 20th century orchestral playing has been traced by Norrington by studying early audio recordings but his opponents contend that his interpretations are not supported by the actual samples. Norrington claims that vibrato in the earliest recordings is used only selectively, as an expressive device; the Berlin Philharmonic Orchestra were not recorded using vibrato comparable to modern vibrato until 1935, and the Vienna Philharmonic Orchestra not until 1940. French orchestras seem to have played with continuous vibrato somewhat earlier, from the 1920s.
Defenders of vibrato claim that the sonic limitations of 78-rpm recordings, particularly with respect to overtones and high frequency information, make an uncontroversial assessment of earlier playing techniques difficult (although, it must be said, early recordings of operatic singers manage to show clearly the extent to which a vibrato is present [or not] in their voices). In addition, the defenders of vibrato point out a distinction needs to be made between the kind of vibrato used by a solo player, and the sectional vibrato of an entire string ensemble, which can't be heard as a uniform quantity as such. Rather, it manifests itself in terms of the warmth and amplitude of the sound produced, as opposed to a perceptible wavering of pitch. The fact that as early as the 1880s composers such as Richard Strauss (in his tone poems "Don Juan" and "Death and Transfiguration") as well as Camille Saint-Saëns (Symphony No. 3 "Organ") asked string players to perform certain passages "without expression" or "without nuance" strongly suggests the general use of vibrato within the orchestra as a matter of course.
Despite this, the use of vibrato in late Romantic music is still common, though challenged by Roger Norrington and others of the historically informed performance movement. Performances of composers from Beethoven to Arnold Schoenberg with limited vibrato are now not uncommon. Norrington caused controversy during the 2008 Proms season by conducting Edward Elgar's Enigma Variations, and the Last Night of the Proms, in non-vibrato style, which he calls pure tone. Some take the view that even though it may not be what the composer envisioned, vibrato adds an emotional depth which improves the sound of the music. Others feel that the leaner sound of vibratoless playing is preferable. In 20th century classical music, written at a time when the use of vibrato was widespread, there is sometimes a specific instruction not to use it (in some of the string quartets of Béla Bartók for example). Furthermore, some modern classical composers, especially minimalist composers, are against the use of vibrato at all times.
In opera
All human voices possess the capacity to produce a vibrato. This vibrato can be varied in width (and rapidity) through training.
In opera, as opposed to pop, vibrato begins at the start of the note and continues to the end of the note with slight variations in width during the note.
Traditionally, however, the deliberate cultivation of a particularly wide, pervasive vibrato by opera singers from the Latin countries has been denounced by English-speaking music critics and pedagogues as a technical fault and a stylistic blot (see Scott, cited below, Volume 1, pp. 123–127). They have expected vocalists to emit a pure, steady stream of clear sound—irrespective of whether they were singing in church, on the concert platform or on the operatic stage.
During the 19th century, for instance, New York and London based critics, including
Henry Chorley,
Herman Klein and
George Bernard Shaw, castigated a succession of visiting Mediterranean
tenors for resorting to an excessive, constantly pulsating vibrato during their performances. Shaw called the worst offenders "goat bleaters" in his book
Music in London 1890-1894 (Constable, London, 1932). Among those censured for this failing were such celebrated figures as
Enrico Tamberlik,
Julián Gayarre,
Roberto Stagno,
Italo Campanini and
Ernesto Nicolini—not to mention Fernando Valero and
Fernando De Lucia, whose tremulous tones are preserved on the 78-rpm discs that they made at the beginning of the 20th century.
The popularity of an exaggerated vibrato among many (but by no means all) Mediterranean tenors and singing teachers of this era has been traced back by musicologists to the influential example set by the early-19th century virtuoso vocalist Giovanni Battista Rubini (1794–1854). Rubini had employed it with great success as an affecting device in the new Romantic operas of Gaetano Donizetti and Vincenzo Bellini. A host of young Italian tenors—including the renowned Giovanni Mario (1810-1883)—copied Rubini's trend-setting innovation in order to heighten the emotional impact of the music that they were singing, and to facilitate the delivery of fioritura "by, as it were, running up and down the vibrato" (to quote Scott; see p. 126).
Prior to the advent of the charismatic Rubini, every well-schooled opera singer had avoided using a conspicuous and continuous vibrato because, according to Scott, it varied the pitch of the note being sung to an unacceptable degree and it was considered to be an artificial contrivance arising from inadequate breath control. British and North American press commentators and singing teachers continued to subscribe to this view long after Rubini had come and gone.
Accordingly, when Enrico Caruso (1873-1921)—the most emulated Mediterranean tenor of the 20th century—made his acclaimed New York Metropolitan Opera debut in November 1903, one of the specific vocal attributes for which he was praised by music reviewers was the absence of a disruptive vibrato from his singing. The scholarly critic William James Henderson wrote in The Sun newspaper, for example, that Caruso "has a pure tenor voice and [it] is without the typical Italian bleat". Caruso's gramophone recordings support Henderson's assessment. (Other prominent Mediterranean tenors of the late 19th century-early 20th century who, like Caruso, did not "bleat" were Angelo Masini, Francesco Tamagno, Francesco Marconi, Francisco Viñas, Emilio De Marchi, Giuseppe Borgatti and Giovanni Zenatello, while the phenomenon was rare among French, German, Russian and Anglo-Saxon tenors of the same period—see Scott.)
The intentional use of a pronounced vibrato by Mediterranean tenors is a practice that has died out over the course of the past 100 years, owing in no small measure to Caruso's example. The last really important practitioners of this style and method of singing were Alessandro Bonci (in the 1900-1925 period) and Giacomo Lauri-Volpi (in the 1920-1950 period). Both of them featured bel canto works, dating from Rubini's day, in their operatic repertoires, and both of them can be heard on recordings which faithfully capture the distinct shimmer inherent in their timbre.
Italian or Spanish-trained operatic
sopranos,
mezzo-sopranos and
baritones exhibiting a pronounced vibrato did not escape censure, either, by British and North American arbiters of good singing. Indeed,
Adelina Patti and
Luisa Tetrazzini were the only Italian sopranos to enjoy star status in London and New York in the late-Victorian and Edwardian eras, while such well-known compatriots and coevals of theirs as
Gemma Bellincioni and
Eugenia Burzio (among several others) failed to please Anglo-Saxon ears because, unlike Patti and Tetrazzini, they possessed unsteady, vibrato-laden voices—see Scott for evaluations of their respective techniques. To give an additional female example from a later date, whenever the vivacious mezzo-soprano of the 1920s and '30s,
Conchita Supervia, performed in London, she was admonished in print for her exceedingly vibrant and fluttery tone, which was unkindly likened by her detractors to the chatter of a machine-gun or the rattle of dice in a cup.
In 1883, Giuseppe Kaschmann (né Josip Kašman)—a principal baritone at La Scala, Milan—was criticised for his strong vibrato when he sang at the Met, and the theatre's management did not re-engage him for the following season, even though other aspects of his singing were admired. (Kaschmann never performed in Great Britain but he remained a popular artist in the Latin countries for several decades; in 1903, he made a few recordings which exhibit only too well his perpetual flutter.) Similarly, another one of Italy's leading baritones, Riccardo Stracciari, was unable to turn his pre-World War One London and New York operatic engagements into unambiguous triumphs due to an intrusive quiver in his tone. He subsequently moderated his vibrato, as the discs that he made for Columbia Records in 1917-1925 show, and this enabled him to pursue a significant career not only in his homeland but also at the Chicago opera.
There is another kind of vibrato-linked fault that can afflict the voices of operatic artists, especially ageing ones—namely the slow, often irregular wobble produced when the singer's vibrato has loosened from the effects of forcing, over-parting, or the sheer wear and tear on the body caused by the stresses of a long stage career.
References: For more information about the historical employment of vibrato by classical vocalists, see Michael Scott's two-volume survey The Record of Singing (published by Duckworth, London, in 1977 and 1979); John Potter's Tenor: History of a Voice (Yale University Press, New Haven & London, 2009); and Herman Klein's 30 Years of Music in London (Century, New York, 1903).
In jazz
Most
jazz players for the first half of the 20th century used vibrato more or less continuously. Since around the 1950s and the rise of
bebop, continuous use of vibrato has largely fallen out of style in favor of more selective use.
In folk
Folk music singers and instrumentalists up to the present day rarely or never use vibrato. It tends only to be used by performers of transcriptions or reworkings of folk music that have been made by composers from a classical, music-school background such as
Benjamin Britten or
Percy Grainger.
The use of vibrato in some folk music is rare, or at least less pronounced than in other forms of music, although in Eastern European gypsy music, for example, it can be very wide.
In pop
In pop (as opposed to opera), where vibrato is used at all, the vibrato usually starts somewhere in the latter part of the note.
In the case of some pop balladists, the vibrato can be so wide as to constitute a pronounced wobble, although not as pronounced as that present in some badly trained or over-worked operatic voices. Many singers use the
vocoder in which the effect can be reduced or eliminated.
Techniques for producing vibrato
Not all instruments can produce vibrato, as some have fixed pitches which cannot be varied by sufficiently small degrees. Most percussion instruments are examples of this, for instance the
xylophone.
Keyboard instruments
Some types of
organ however,
can produce the effect by altering the pressure of the air passing through the pipes, or by various mechanical devices (see the
Hammond or
Wurlitzer Organs for example). The
clavichord, though technically a fixed-pitch keyboard instrument, is capable of producing a type of vibrato known as
Bebung by varying the pressure on the key as the note sounds. Some digital keyboards can produce an electronic vibrato effect, either by pressure on the keys, or by using a joystick or other MIDI controller.
String instruments
The method of producing vibrato on other instruments varies. On
string instruments, for example, the finger used to stop the string can be wobbled on the fingerboard, or actually moved up and down the string for a wider vibrato.
Many contemporary string players vary the pitch from below, only up to the nominal note and not above it, although great violin pedagogues of the past such as Carl Flesch and Joseph Joachim explicitly referred to vibrato as a movement towards the bridge, meaning upwards in pitch,—and the cellist Diran Alexanian, in his 1922 treatise Traité théorique et pratique du Violoncelle, shows how one should practice vibrato as starting from the note and then moving upwards in a rhythmic motion. In a 1996 acoustic study by the Acoustical Society of America, along with Wellesley College and the Massachusetts Institute of Technology, found that the perceived pitch of a note with vibrato "is that of its mean", or the middle of the fluctuating pitch.
The guqin, a Chinese bridgeless zither, has documents describing over 25 different types of vibrato that can be executed. Most peculiar is the vibrato ting yin (literally "still vibrato"); ancient manuals state that the finger on the left hand that is pressing the string should only move or rock ever so slightly so as to alter the pitch minutely, and some manuals say that the finger should not move at all but let the pulse of the finger do the vibrato.
Wide vibrato, as wide as a whole-tone, is commonly used among electric guitar players and adds a vocal-like expressiveness to the sound. This effect can be achieved both by the movement of fingers on the fretboard and by the use of a tremolo arm, a lever that adjusts the tension of the strings.
Wind instruments
Players of wind instruments generally create vibrato by modulating their air flow into the instrument. This may be accomplished either through stomach vibrato, the pulsing of the diaphragm slightly up and down, or throat vibrato, a variation of vocal chord tension to manipulate air pressure as singers do. Stomach and throat vibrato are the only methods possible for flautists and oboists, but players of other instruments may employ less common techniques. Saxophonists tend to create vibrato by repeatedly moving their jaw up and down slightly. Clarinet players rarely play with vibrato, but if they do, the saxophone method is common because of the similarity of the saxophone and clarinet mouthpieces and reeds.
Brasses
Brass instrument players may produce vibrato by gently shaking the horn which varies the pressure of the mouthpiece against the lip. Alternatively, the
embouchure can be rapidly altered, essentially repeatedly "bending" the note. On a
trombone, a player may provide a slightly more pronounced vibrato by gently moving the slide back and forth, centering on one note to give a lyrical effect.
Auto-vibrato
Some instruments can only be played with constant, mechanical vibrato (or none at all), notably electric organists using a
Leslie speaker. Vibrato on the
theremin, which is a continuously variable-pitch instrument with no "stops", can range from delicate to extravagant, and often serves to mask the small pitch adjustments that instrument requires.
Sound examples
See also
List of ornaments
Wah-wah (music)
Finger vibrato
Vibrato unit
References
External links
Vibrato or tremolo? - technical treatment, but accessible to laypersons
The Vibrato Page - collection of opinions and quotes against vibrato.
Roger Norrington writing on vibrato - from a conductor's perspective
David Montgomery: The Vibrato Thing - from a musician's perspective, debunking Norrington and Moens-Haenen
Punctuating your Lead Guitar with String Vibratos
Use of Vibrato in Baroque Vocal Music - Historical documentation, brief but clear scientific explanation, and a short bibliography
David Hurwitz: Vibrato in the Classical Orchestra - latest of three-part essay refuting Norrington and his school; covers the Classical Period
Category:Musical performance techniques
Category:Opera terminology
Category:Ornament
Category:Italian loanwords
