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Why You Shouldn't Use Vibrato: Other Voices
The following comments on the subject of vibrato come from previous visitors to my page. Feel free to add your own comments in Tessitura.
Dwayne (not me)
I would say that it is not singing above and below the pitch- it's more likely above and TO the pitch...try it.
Another less damaging method of producing vibrato (if it's you need to do so) is from the diaphram- abdominal muscle control vs. throat constriction/muscle interference. Sing a note and place your hand below your ribs on your belly- lightly pulsen with pressure- viola- vibrato. Now do it without using your hand but from the same source.
John
On no-vibrato. I think vibrato is a term that's loosely used for several fenomena. From the slightly emotional quivering passing through the goat's bleat onto the italian tremolo (or vocal wobble).
I think vibrato is a function of emission, and therefore a function of how the trunk and throat mucles are used and the default muscle-tone thereof. As long as there is freedom in the trunk and throat (no excessive tension or relaxation) I don't see why we should iron certain expressive nuances out of the voice. We all know that when we get emotional, none of our voices produces a "straight tone". On the other hand, robots and computers usually have a straight tone. That should tell us something. As long as the "quivering" or "shimmering" doesn't become mechanical or harmful to the voice, and as long as it is expressive, I think it's OK!
A. Lafrentz
My opinion with respect to your article on "vibrato". As a music teacher myself teaching recital/operatic singing, I have discovered that voices that come in to my studio to learn this style start with no vibrato, but in the process of learning this style of singing a vibrato "magically" develops from proper technique. I have not heard a "bad" vibrato develope yet in my studio. Some belters that I have heard have no vibrato and I find the singing hard to listen to over an extended time. On the other hand, a straight tone that moves to a vibrato is wonderful. My preference is that a vibrato is easier to listen to than total straight tone. However vibrato should also be controlled in group singing/choirs.
Anthony
I have just read why you should never use a vibrato. I am a barritone and the vibrato which i produce is natural (according to my vocal trainer) and should be used. I understand both the concepts which you have used and the arguemants both for and against the use of vibrato. One arguement states that in damages your vocal chords. If this is true, why do we still have tenors for example at the age of 50 and 60+ years still producing the same note as when they were younger? Domingo for example.
Nicole
I have been a singer for many years, while one of the books you have read is correct, the other is not. Vibrato is produced by the chords vibrating freely, not by the change in air pressure. If you do not believe this, read an author by the name of Robert Sataloff, he was an opera singer for years who became an ear, throat and nose specialist. He writes books about proper voice care, from a medical view point.
As for your comment that you liked singers who sounded like children after singing for 30 or 40 years, these are the people who are doing real damage to their voices. A voice, like any other part of your body, matures with age. Your vocal cords reach maturation somewhere between 24 years old and 30 years old. Asking a mature adult to sing like a 14 year old is the equivalent of asking them to look like a 12 year old at 40. It is just wrong. Some people do it, but only because they haven't had any vocal training and do not know any better.
There are places where singing without vibrato is good. Choral singing is such a place. But, the straight tone must be produced freely, and not be forced.
I hope that some of this has shed some insight into singing and vibrato.
Someone from the Lake HS Band Student Body
- Vibrato does not harm voice at all. Vibrato is caused when the muscles that stabilize the larynx are relaxed, permitting the voice box to move a little. Stopping this natural process uses and strains muscles.
- With wind instruments, vibrato DOES result from variance in pitch, not volume, like you foolishly stated.
- Christy's "Foundations in Singing" is highly respected throughout the music community, while Lehmann's "How to Sing" is either not heard of or regarded as rubbish.
- Comparing strings to elastic is a faulty comparison at best. New strings go flat many times faster than old ones. Old strings, when broken in, can hold a desent tuing for months. The sound of strings deteriorates due to build up of dirt on strings. Boiling strings in water will revitilizes sound.
- Vibrato does not induce intonation problems. Intonation is depentant on control of one's voice and vocal muscle strength.
Alex
I thought the article was good but over all I am looking for ways of improving my singing loads I have generally got rid of any vibrato I once had I put it down to lack of control nothing more, yet it is widely accepted in for instance church choristers (i am one myself) whereas at my barbershop chorus it is intensly discouraged because vibrato ruins the close harmony attained by the singers.
Helen
I believe vibrato should be learned to provide artistic contrast and added depth to song much the way black is used to create depth in paintings. An all-black painting would not be very interesting. Neither would an all-white one.
James
I found your article interesting but a bit off the beaten path. I imagined in my mind's ear what it would be like to hear Puccinian phrase sung in a vibrato-less manner. Rather than add pressure to the chords, I have always had the sensation that a steady vibrato in the tone is an indication that the voice is supported on the breath and the larnyx leaving an unobstructed throat.
One of the hallmark characteristics of one of the greatest tenors of our century (Luciano Pavarotti) is a vibrant, immediate vibrato on each note he sings. In fact in his early years of career, this thumb-print trait was even more pronounced than it is now.
I would attribute the teenage-like voice quality you describe in the doo-wap group to a "sustained crooning" and not necessarily a proper methodology to singing. That of course, is my opinion.
Thanks for your article all the same.
David
I found your article extremely valuable to a dicsourse between myself,
my wife and son.
Our almost 18-year old son has leading role in a high school production
of "South Pacific". Though he has extensive instrumental (woodwind)
musical experience, this will be his first vocal appearance and he wants
to perform well.
Upon attending a musical production of "Jekyl and Hyde" last night, he
seems to have become acutely aware of vibrato, saying he might
incorporate this into his style. I told Patrick that my grandmother, a
Master's Degree graduate in vocal music from Juliard, always told her students
it was not the thing to do and rigorously discouraged the practice.
She often said its presence is indicative of an untrained/inexperienced
voice.
For this reason, I found your article very helpful in settling our
dispute, as her mother (who plays piano occasionally, but has not had any
formal education in music) teamed up with him.
Thanks.
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