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 the speed with which the pitch is varied ("rate of vibrato").^[1]

Vibrato and tremolo[link]

Spectrogram 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.

Leslie speaker[link]

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.

Acoustic basis[link]

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.^[2] 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.^[3]

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[link]

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).^[1] Wind and bowed instruments generally use vibratos with an extent of less than +/- half a semitone.^[1]

Vibrato's use in various musical genres[link]

Vibrato is sometimes thought of as an effect added onto the note itself, but in some cases it is so fully a part of the style of the music that it can be very difficult for some performers to play without it. The jazz tenor sax player Coleman Hawkins found he had this difficulty when requested to play a passage both with and without vibrato by the producer of a children's jazz album to demonstrate the difference between the two. Despite his technique, he was unable to play without vibrato. A symphony saxophonist was brought in to play the part.

Many classical musicians, especially singers and string players, have a similar problem. The violinist and teacher Leopold Auer, writing in his book Violin Playing as I Teach It (1920), advised violinists to practise playing completely without vibrato, and to stop playing for a few minutes as soon as they noticed themselves playing with vibrato in order for them to gain complete control over their technique.

In classical music[link]

The use of vibrato in classical music is a matter of some dispute. For much of the 20th century it was used almost continuously in the performance of pieces from all eras from the Baroque onwards, especially by singers and string players. A drastic change in approach cannot be understood wholly without regarding the rise of notionally historically accurate ("period") performance from the 1970s onwards. However, there is no actual proof that singers performed without vibrato in the baroque era. Vocal music of the renaissance is almost never sung with vibrato as a rule, and it seems unlikely it ever was. There are only a few texts from the period on vocal production, but they all condemn excessive use of vibrato. However, it should be understood that "vibrato" occurs over a wide range of intensities: slow, fast, wide, and narrow. Most sources in condemning the practice seem to be referring to a wide, slow, perceptible oscillation in pitch, usually associated with intense emotion^{[citation needed]}, whereas the ideal for modern vibrato, and possibly in earlier times as well, was to imitate the natural timbre of the adult singing voice, from which a measure of vibrato (it has since been shown) is rarely absent.

Leopold Mozart’s Versuch einer gründlichen Violinschule (1756), for example, provides an indication of the state of vibrato in string playing at the end of the baroque period. In it, he concedes that “there are performers who tremble consistently on each note as if they had the permanent fever”, condemning the practice, and suggesting instead that vibrato should be used only on sustained notes and at the ends of phrases when used as an ornament.^[4] 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 types 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[link]

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^{[citation needed]} 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.^{[citation needed]}

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^{[citation needed]} 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 cannot 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[link]

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 I 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[link]

This unreferenced section requires citations to ensure verifiability.

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[link]

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.^{[citation needed]}

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.^{[citation needed]}

In pop[link]

In pop (as opposed to opera), 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 pitch correction software in which the effect can be reduced or eliminated as a result of pitch quantization.

Techniques for producing vibrato[link]

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[link]

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[link]

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,^[5] 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,^[6]—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.^[7] 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.^[8]

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.^{[citation needed]}

Wide vibrato, as wide as a whole-tone, is commonly used among electric guitar players and adds the signature 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[link]

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. 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[link]

Brass instrument players may produce vibrato by gently shaking the horn which varies the pressure of the mouthpiece against the lip. This is referred to as hand vibrato, and is more favored in higher brass. Alternatively, the embouchure can be rapidly altered, essentially repeatedly "bending" the note. This is called lip-vibrato, and is probably the most commonly used technique of vibrato on a lower brass instrument.^[9] 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. Often, this is more of a jazz technique. This is called slide vibrato. In brass playing, diaphragmatic vibrato is possible, but not often preferred.

Auto-vibrato[link]

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[link]

•  Vibrato, Sound Frequency 500 Hz - Frequency Modulation 50 Hz - Vibrato Frequency 6 Hz (help·info)
•  Tremolo, Sound Frequency 500 Hz - Amplitude Modulation 6 Hz (help·info)
•  Tremolo by beating - Sound Frequencies 500 and 506 Hz, Beat Frequency 6 Hz (help·info)

See also[link]

• List of ornaments
• Wah-wah (music)
• Finger vibrato
• Vibrato unit

References[link]

External links[link]

Look up vibrato in Wiktionary, the free dictionary.

• 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
• A riddle over vibrato of clarinet

James Galway
Sir James Galway and his wife, Jeanne Galway, performing in the 2007 New Year's Eve concert at the Culture and Convention Centre, Lucerne.
Background information
Birth name	James Galway
Born	(1939-12-08) 8 December 1939 (age 72) Belfast, Northern Ireland
Genres	Classical, Pop
Occupations	Orchestral, soloist, conductor
Instruments	Flute, Tin whistle
Years active	1950s–present
Associated acts	Philharmonia Orchestra Sadler's Wells Opera Covent Garden Opera London Symphony Orchestra Royal Philharmonic Orchestra Berlin Philharmonic Orchestra London Mozart Players The Chieftains

Sir James Galway OBE (born 8 December 1939) is a virtuoso flute player from Belfast, Northern Ireland, nicknamed "The Man With the Golden Flute". Following in the footsteps of Jean-Pierre Rampal, he became one of the first flute players to establish an international career as a soloist.

Education[link]

Galway went to London as a teenager to study the flute. He studied at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.

Career[link]

After his education time he spent fifteen years as an orchestral player.^[1] Galway played with the Philharmonia Orchestra as it rose to prominence in the 1950s.^{[citation needed]}

He then played with Sadler's Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra.^[1] He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan's surprise and dismay, after a period of some disagreement, Galway decided that he would leave to pursue a solo career.^{[citation needed]}

In addition to his performances of the standard classical repertoire, he features contemporary music in his programmes, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, John Wolf Brennan, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album James Galway and The Chieftains in Ireland by Galway and The Chieftains" reached number 32 in the UK Albums Chart in 1987.^[2]

In 1990, he was invited by Roger Waters to play at The Wall – Live in Berlin concert, held in Potsdamer Platz; he played Pink Floyd's songs "Goodbye Blue Sky" and "Is There Anybody Out There?".

Galway still performs regularly and is one of the world's most well-known flute players. His recordings have sold over 30 million copies.^[3]

He is Principal Guest Conductor of the London Mozart Players, based at the Fairfield Halls, Croydon, South London.^[4]

Most recently, Galway has performed for the Academy Award-winning ensemble recording the soundtracks of Peter Jackson's Lord of the Rings film trilogy, composed by Howard Shore.

In June 2008, Galway was inducted into the Hollywood Bowl Hall of Fame along with Liza Minnelli and B. B. King.

He currently performs on Nagahara flutes, as well as some Muramatsu Flutes. Conn-Selmer produces his line of flutes, Galway Spirit Flutes.

Personal[link]

In the 1970s Galway moved from Berlin to Lucerne, Switzerland, the home town of his second wife, Anna (Annie) Renggli, one of the daughters of a well-known local architect. They had twins and a son. In 1978 he recorded for her an instrumental version of John Denver's "Annie's Song". it peaked at #3 in the UK Singles Chart.^[2] After their divorce he moved to Meggen, Switzerland, a village next to Lucerne, where he resides now with his third wife, the American born Jeanne Galway (née Cinnante). They often tour together playing duets, accompanied by Phillip Moll on piano.^{[citation needed]} In addition, they give master classes for flutists of all levels.

Galway is also president of a global organisation called Flutewise,^[5] a charitable organisation which supports young flute players,^[1] run by Liz Goodwin.

In 2003 he formed the Music Education Consortium together with Julian Lloyd Webber, Evelyn Glennie and Michael Kamen to pressure the British Government into providing better music education in schools.

Galway is a dedicated Christian who visits various types of churches while travelling (as long as they are not modern and "happy-clappy") and prays before his concert performances.^[6] He also wears a large cross necklace, about which he says, "It's not jewelry. It's something that reminds me of what I should be doing and how I should be behaving." At the same time, he has a strong sense of humor and a readiness to have fun with his music and in conversation with others.

He was made an Officer of the Order of the British Empire (OBE) in 1977, and was knighted in 2001^[1], the first wind player ever to receive that honour.^[7]

He is a National Patron of Delta Omicron, an international professional music fraternity.^[8]

Galway's nephew, Martin Galway, is a musician famous for his work on Commodore 64 computer game music in the 1980s.

James Galway has the eye condition nystagmus, and is a patron of the Nystagmus Network, a UK-based support group for people with the condition.^[9]

Publications[link]

• Galway, James (1978). An Autobiography. London: Chappell and Company Ltd.. ISBN 0-340-24721-5. 
• Galway, James; W. Mann (1982). James Galway's Music in Time. London: Mitchell Beazley. ISBN 0-85533-382-0. 
• Galway, James. (1982). Flute. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0-356-04711-3 (cloth); ISBN 0-356-04712-1 (pbk.) New York: Schirmer Books. ISBN 0-02-871380-X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1-871082-13-7

Media[link]

Flute Quintet in G major by Bernhard Romberg 1. Allegro 2. Minuet 3. Adagio 4. Rondo performed by Sir James Galway with the Young Danish String Quartet, November 2005

	Wind Quintet Op. 43 by Carl Nielsen 1. Allegro ben moderato 2. Menuetto 3. Praeludium: Adagio. Tema con variazioni: Un poco andantino performed by Sir James Galway with the Carion quintet
Problems listening to these files? See media help.

References[link]

External links[link]

• Official website
• "Official Artist's Page". http://www.imgartists.com/?page=artist&id=174.  IMGArtists.com 15 September 2008.
• "Sir James Galway's New Recording O'Reilly Street to Be Released on 16 September.". http://www.allaboutjazz.com/php/news.php?id=21399.  AllAboutJazz.com 5 August 2008.
• "YouTube". Masterclass videos, performances and interviews. http://www.youtube.com/user/LarryKrantz. 
• "Howard Shore, The Lord of the Rings: The Return of the King". Music Files. http://www.mfiles.co.uk/reviews/howard-shore-the-return-of-the-king.htm. 
• Full Biography

Karen J. Dalton (born Karen J. Cariker; July 19, 1937 – March 19, 1993) was an American folk blues singer and banjo player associated with the early 1960s Greenwich Village folk music scene, particularly with Fred Neil and the Holy Modal Rounders as well as Bob Dylan.

Biography[link]

Dalton, whose heritage was Cherokee, was born Karen J. Cariker in Enid, Oklahoma.^[1] Her bluesy, world-weary voice is often compared to that of jazz singer Billie Holiday. She sang blues, folk, country, pop, Motown -- making over each song in her own style. She played the twelve string guitar and a long neck banjo.

In his 2004 autobiography,^[2] Bob Dylan wrote this in his description of discovering and joining the music scene at Greenwich Village's Cafe Wha? after arriving in New York City in 1961: "My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday and played guitar like Jimmy Reed... I sang with her a couple of times."

Dalton's second album, In My Own Time (1971), was recorded at Bearsville Studios and originally released by Woodstock Festival promoter Michael Lang's label, Just Sunshine Records. The album was produced and arranged by Harvey Brooks, who played bass on it. (Harvey Brooks also played bass on the Miles Davis album Bitches Brew, the Bob Dylan album Highway 61 Revisited and the Richie Havens album Mixed Bag.) Piano player Richard Bell guested on In My Own Time. Its liner notes were written by Fred Neil and its cover photos were taken by Elliott Landy. Less well-known is Dalton's first album, It's So Hard to Tell Who's Going to Love You the Best (Capitol, 1969), which was re-released by Koch Records on CD in 1996.

Both Dalton's albums were re-released in November 2006: It's So Hard To Tell Who's Going To Love You The Best, on the French Megaphone-Music label, included a bonus DVD featuring rare performance footage of Dalton. In My Own Time was re-released on CD and LP on November 7, 2006 by Light In The Attic Records.

Known as "the folk singer's answer to Billie Holiday" and "Sweet Mother K.D.", Dalton is said to be the subject of the song Katie's Been Gone (composed by Richard Manuel and Robbie Robertson) on the album The Basement Tapes by The Band and Bob Dylan. She struggled with drugs and alcohol for many years. She reputedly died in 1993 on the streets of New York after an eight-year battle with AIDS.^[3] However, an article in Uncut magazine,^[4] confirmed that Dalton was actually being cared for by the guitarist Peter Walker in upstate New York during her last months.

She was married to the guitarist Richard Tucker. She had at least two children: a son, whom she lost custody of, and a daughter, Abralyn Baird, born when Dalton was 17, whom she kidnapped and took with her to New York when she was 19.^[5] By the time she was 21, she had been married and divorced twice.^[6]

Discography[link]

• It's So Hard to Tell Who's Going to Love You the Best (1969)
• In My Own Time (1971)
• Cotton Eyed Joe (2007) (recorded live in 1962)
• Green Rocky Road (2008)
• 1966 (2012). Released by Delmore Recording Society; contains previously unreleased recordings.

References[link]

External links[link]

• Karen Dalton at Allmusic
• Illustrated Karen Dalton discography
• Light In The Attic Records "In My Own Time" CD
• Delmore Recordings "Cotton Eyed Joe: The Loop Tapes/Live In Boulder 1962" CD & DVD and "Green Rocky Road" CD"
• Megaphone Music