363:/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 as 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.
1342:
1368:
1355:
359:(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. 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
34:
1319:), 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
1132:
1219:
2072:
438:
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
767:, 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,
194:
818:
230:(1967) conducted the first comprehensive studies on perceptions of vibrato in the context of classically trained singers, finding some individuals are 50-100 times more perceptive of the presence of vibrato than individuals with the least ability and that “much of the most beautiful vibrato is below the threshold for vibrato hearing and is perceived merely as tone quality.” This conclusion was confirmed by
2060:
1190:, or use and shaping of the lips and facial muscles, 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. It is also known to give the best sound and timbre on a brass instrument and is encouraged in upper-level or militaristic style brass ensembles.
442:(Symphony No. 3 "Organ") asked string players to perform certain passages "without expression" or "without nuance" somewhat suggests the general use of vibrato within the orchestra as a matter of course; by the same token, indications by Mahler and Debussy that specifically demand the use of vibrato in certain passages may suggest the opposite practice.
1111:
1175:
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.
988:"This combination is relatively stable in the most beautiful voices. An important feature is that the partial functions can appear during the song as "accents": In the context of the presentation expressive wave dominates respirativa, lyrical character, but in an accelerated, or glottis wave, hard feature heroic, but in a slow way."
1221:
1226:
1224:
1220:
752:(among several others) failed to please the Anglophones' 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,
1225:
1277:) 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 (
1540:
In the case of string instruments, however, not only are they strongly directional, but the pattern of their directionality changes very rapidly with frequency. If you think of that pattern at a given frequency as beacons of sound, like the quills of a porcupine, then even the slight changes in pitch
782:
There is another kind of vibrato-linked fault that can afflict the voices of operatic artists, especially aging 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
346:
is almost never sung with vibrato as a rule, and it seems unlikely it ever was; 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
653:
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
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In practice, it is difficult for a singer or musical instrument player to achieve only pitch vibrato (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
208:
are sometimes used interchangeably, although (in the classical world) they are properly defined as separate effects. Vibrato is defined as a periodic variation in the pitch (frequency) of a musical note that is perceived as one fundamental frequency. Tremolo, on the other hand, is defined as a fast
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Players of woodwind 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
578:
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).
437:
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 in their voices). In addition, the defenders of vibrato point
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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
303:
found he had this difficulty when requested to play a passage both with and without vibrato by
Leonard Bernstein when producing his record album "What is Jazz" to demonstrate the difference between the two. Despite his technique, he was unable to play without vibrato. The featured saxophonist in
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Players may also produce vibrato by gently shaking the horn which varies the pressure of the mouthpiece against the lip. This is referred to as hand vibrato. It is more favored in higher brass, but does not possess the same sound quality as lip-vibrato and at upper levels and can be viewed as a
1209:
is possible, but is viewed as an immature technique by collegiate or professional brass players as this technique interferes with proper airflow from the lungs to the instrument. The use of diaphragmatic vibrato in a brass setting is detrimental to the sound and stamina that a brass player can
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singers and instrumentalists in the North
American and Western European traditions rarely use vibrato, reserving it for occasional ornamentation. It also tends to be used by performers of transcriptions or reworkings of folk music that have been made by composers from a classical, music-school
540:, appears to take the exact opposite definition as his father: in a letter to his father, Mozart criticizes singers for "pulsing" their voice beyond the natural fluctuation of the voice, the latter of which being pleasant should be imitated on the violin, winds, and clavichord (with bebung).
334:
The rise of notionally historically informed ("period") performance from the 1970s onwards has dramatically changed its use, especially in music of the
Baroque and Classical eras. However, there is no actual proof that singers performed without vibrato in the baroque era. Notably, composer
1463:
Martin
Agricola, and William E. Hettrick. The “Musica Instrumentalis Deudsch” of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545. Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press, 1994; Lodovico Zacconi, Prattica Di Musica. Bibliotheca Musica
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70:
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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 operatic voices. Many singers use
421:
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
524:
believed the natural trembling in the voice occurred "without making it higher or lower". This could be achieved on string instruments by varying the speed of the bow, waving the hand, or rolling the bow in the fingers. On the organ, a similar effect is created by the
704:
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
347:
in pitch, usually associated with intense emotion, 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.
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All human voices can produce 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.
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Descriptions of what would now be characterised as vibrato go back to the 16th century. However, no evidence exists of authors using the term vibrato before the 19th century. Instead, authors used various descriptive terms interchangeably, including
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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
116:. It is used to add expression to vocal and instrumental music. Vibrato is typically characterized 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").
319:(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.
225:
Currently, the leading understanding is that when vibrato is utilised, listeners are able to focus on the average pitch and hear it as a single fundamental as opposed to the alternation between two different fundamental frequencies.
512:
Theorists and authors of treatises on instrumental technique of the era regularly used tremolo or bebung to refer to vibrato on other instruments and in the voice; however, there was not uniform agreement in what the term meant.
477:. 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
1154:, use bow vibrato by moving the right hand up and down slightly to change the angle and pressure of the bow and thus oscillate the pitch and intensity of a note. The first known description of this technique on violin was by
1116:
68:
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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
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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
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Some studies have shown that vibrato is the result of a neuromuscular tremor in the vocal folds. In 1922, Max Schoen was the first to make the comparison of vibrato to a tremor due to the following similarities:
1343:
69:
756:, 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.
1509:
William
Vennard, Singing: The Mechanism and the Technic. rev. ed., greatly enlarged ed. New York: Fischer, 1967. 203; Sundberg, “Aspects of Vocal Vibrato”. 59.; Nair. Voice, Tradition and Technology. 180.
1201:, 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, and is called
1043:
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.
366:
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
242:
and record production vibrato retains the same meaning as in the classical world (a periodic variation in pitch) but tremolo describes a periodic variation in volume usually achieved using outboard
947:
Not all instruments can produce vibrato, as some have fixed pitches that cannot be varied by sufficiently small degrees. Most percussion instruments are examples of this, for instance, the
1250:, 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.
382:. 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.
209:
repetition of the same note (usually a semiquaver) or alternation between two notes, especially on instruments which do not have the ability of producing long sustained notes, such as the
665:
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
406:, 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
61:
52:
677:
recordings support Henderson's assessment. (Other prominent Mediterranean tenors of the late 19th century to early 20th century who, like Caruso, did not "bleat" were Angelo Masini,
1464:
Bononiensis. Sezione Ii, N. 1-2. Bologna: Forni, 1983; Michael Praetorius, Syntagma Musicum. Documenta Musicologica; 1. Reihe: Druckschriften-Faksimiles. Kassel: Bärenreiter, 1959.
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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.
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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
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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
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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
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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
50:
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and some of his colleagues is held to be shown by early sound recordings, which allegedly demonstrate that this profuse use of vibrato appeared only in the 20th century.
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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
959:
There are three different voice vibrato processes that occur in different parts of the vocal tract. Peter-Michael Fischer vibrato types defined by place of production:
646:(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
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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.
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The 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
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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
51:
1158:. This technique was not limited to violin but was known to players of all string instruments in Italy, France, Germany, and England during the Baroque era.
1323:, such that increasing wavelength decreases frequency and vice versa, any listener for whom the speaker's motion changes the sound's perceived amplitude (
1076:, 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.
598:
for resorting to an excessive, constantly pulsating vibrato during their performances. Shaw called the worst offenders "goat bleaters" in his book
402:
is now played with a fairly continuous vibrato. However, some musicians specialising in historically informed performances, such as the conductor
1095:, 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
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1828:
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Some instruments can be played only with constant, mechanical vibrato (or none at all). This effect is notable in electric organists using a
536:
includes tremolo in chapter 11 of his violin treatise, but describes an unnamed vibrato technique in chapter 5 on tone production. His son,
1246:, the most popular of which use a two-speed vibrato; a degree of expression is gained from the acceleration between speeds. Vibrato on the
279:) 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
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1738:
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529:. (Contradictory to his description, Hiller recommended string players vary the pitch by rolling the fingers to create the effect).
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378:(1529) writes of vibrato in this way. Occasionally, composers up to the baroque period indicated vibrato with a wavy line in the
234:(1967) who notes that the listener hears only the average pitch, and the fluctuation is interpreted as enhanced tonal quality.
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exhibiting a pronounced vibrato did not escape censure, either, by British and North American arbiters of good singing. Indeed,
1554:
1135:
A vibrato, sometimes called whammy bar, on an electric guitar allows to lower or raise the strings in order to produce vibrato.
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in 1917-1925 show, and this enabled him to pursue a significant career not only in his homeland but also at the Chicago opera.
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players for the first half of the 20th century used vibrato more or less continuously. Since around the 1950s and the rise of
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1911:
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can produce vibrato by altering the pressure of the air passing through the pipes, or by various mechanical devices (see the
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283:) either side. Wind and bowed instruments generally use vibratos with an extent of less than half a semitone either side.
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1976:
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1107:, found that the perceived pitch of a note with vibrato "is that of its mean", or the middle of the fluctuating pitch.
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A combination of the two, resulting in a vibrato whose frequency is between 5 and 6.5 Hz vibrato. Fischer writes:
2039:
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1798:
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1999:
847:
701:, while the phenomenon was rare among French, German, Russian and Anglo-Saxon tenors of the same period—see Scott.)
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newspaper, for example, that Caruso "has a pure tenor voice and is without the typical Italian bleat". Caruso's
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not until 1940. French orchestras seem to have played with continuous vibrato somewhat earlier, from the 1920s.
2009:
1491:
Nair, Garyth. Voice, Tradition and Technology: A State-of-the-Art Studio. San Diego, Calif: Singular Pub, 1999.
843:
626:, whose tremulous tones are preserved on the 78-rpm discs that they made at the beginning of the 20th century.
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1946:
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427:
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634:(1794–1854). Rubini had employed it with great success as an affecting device in the new Romantic operas of
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that imitate the natural vibrato but can also produce much faster speeds. The vibrato effect is close to a
1087:
explicitly referred to vibrato as a movement towards the bridge, meaning upwards in pitch,—and the cellist
1037:, though technically a fixed-pitch keyboard instrument, is capable of producing a type of vibrato known as
566:
as well as vibrato by shaking the flute with pitch fluctuations varying from nearly nothing to very large.
478:
2721:
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The "fiery tone" that likely results from this phenomenon is an essential characteristic of good violins.
906:. Vibrato of varying widths and speeds may be used in folk music traditions from other regions, such as
433:
Defenders of vibrato claim that the sonic limitations of 78-rpm recordings, particularly with respect to
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References: For more information about the historical employment of vibrato by classical vocalists, see
2171:
1144:
1482:
Greta Moens-Haenen, “Vibrato.” Grove Dictionary of Musical Instruments. Oxford University Press, 2015.
661:(1873–1921) — the most emulated Mediterranean tenor of the 20th century — made his acclaimed New York
481:, written at a time when the use of vibrato was widespread, there is sometimes a specific instruction
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1972:
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602:(Constable, London, 1932). Among those censured for this failing were such celebrated figures as
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140:
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National Schools of Singing English, French, German, and Italian Techniques of Singing Revisited
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2327:
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The Monteverdi Vespers of 1610 : Music, Context, Performance: Music, Context, Performance
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Christian Friedrich Daniel Schubart, Ideen Zu Einer Aesthetik Der Tonkunst. Wien: Degen, 1806.
445:
Despite this, the use of vibrato in late Romantic music is still common, though challenged by
439:
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964:
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and others of the historically informed performance movement. Performances of composers from
144:
886:, continuous use of vibrato has largely fallen out of style in favor of more selective use.
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450:
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185:. These “terminological uncertainties” continue to pervade modern definitions of vibrato.
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Alexanian, D.: "Traité théorique et pratique du Violoncelle", pages 96 and 97. Dover.
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Vibrato, Sound Frequency 500 Hz - Frequency Modulation 50 Hz - Vibrato Frequency 6 Hz
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650:"by, as it were, running up and down the vibrato" (to quote Scott; see p. 126).
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is an imitation of that vocal function. Vibrato can also be reproduced mechanically (
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During the 19th century, for instance, New York and London based critics, including
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Ornamentation in Baroque and Post-baroque Music: With Special Emphasis on J.S. Bach
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with limited vibrato are now common. Norrington caused controversy during the 2008
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were not recorded using vibrato comparable to modern vibrato until 1935, and the
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1684:"A Selected Bibliography of Writings By and About Bernard Shaw Concerning Music"
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was an instructor of vibrato method on the violin and published a book titled
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509:) refers to a vibrato effect created by varying the depression of the keys.
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The use of vibrato is intended to add warmth to a note. In the case of many
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2129:- latest of three-part essay defending vibrato; covers the Classical Period
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Tremolo by beating - Sound Frequencies 500 and 506 Hz, Beat Frequency 6 Hz
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produce, and so is strongly discouraged at any level of musical training.
800:(Yale University Press, New Haven & London, 2009); and Herman Klein's
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solo player to be heard more clearly when playing with a large orchestra.
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Benny Goodman's Orchestra, George Auld, was brought in to play the part.
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The first note is played without vibrato, while the rest is played with.
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created by vibrato can cause those quills to be continually undulating.
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Vibrato and tremors occur at half the rate of normal muscular discharge
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for example). Furthermore, some modern classical composers, especially
85:
1327:, any listener whose distance from the speaker is changing) must also
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1273:(best known through its historical and popular association with the
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players can produce vibrato by repeatedly and rapidly altering the
764:
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to achieve or demonstrate pure tremolo or vibrato. In the world of
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technical mistake, most notable in military style brass training.
796:(published by Duckworth, London, in 1977 and 1979); John Potter's
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Carl E. Seashore, Psychology of Music. New York: Dover, 1967. 46.
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The method of producing vibrato on other instruments varies. On
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Flute treatises of the era describe a variety of techniques for
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Down the Back Lane: Variation in Traditional Irish Dance Music
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Bania, Maria. "Flute vibrato in the 18th and 19th centuries".
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Wide vibrato, as wide as a whole-tone, is commonly used among
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883:
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1582:. Translated by Honea, Sion. University of Central Oklahoma.
2509:
2414:
2348:
1789:
Miller, Richard (2002). "Vibrato and National Tendencies".
1358:
Tremolo, Sound Frequency 500 Hz - Amplitude Modulation 6 Hz
1297:), such that amplitude also varies directly with distance (
939:
software in which the effect can be reduced or eliminated.
879:
311:
players, have a similar problem. The violinist and teacher
293:
642:. A host of young Italian tenors—including the renowned
497:
composers, are against the use of vibrato at all times.
200:
illustrating the difference between tremolo and vibrato
123:, it can occur spontaneously through variations in the
1433:"Acoustic and psychoacoustic aspects of vocal vibrato"
2106:- from a conductor's perspective, critical of vibrato
1618:
Neumann, Frederick (1991) "The Vibrato Controversy,"
1009:
Neither are under the automatic control of the person
594:, castigated a succession of visiting Mediterranean
112:
effect consisting of a regular, pulsating change of
2123:- Historical documentation and a short bibliography
1947:"Pitch center of stringed instrument vibrato tones"
1147:, a lever that adjusts the tension of the strings.
942:
331:onwards, especially by singers and string players.
2112:- from a musician's perspective, defending vibrato
1768:. Mel Bay Publications, Incorporated. p. 19.
1644:"Did early string players use continuous vibrato?"
1162:is known to have described this technique for the
339:advocated that vibrato "ought always to be used".
2127:David Hurwitz: Vibrato in the Classical Orchestra
2116:Punctuating your Lead Guitar with String Vibratos
1632:https://scholarship.claremont.edu/ppr/vol4/iss1/3
713:(in the 1920-1950 period). Both of them featured
532:Other authors seem to differentiate by degrees.
307:Many classical musicians, especially singers and
2708:
286:
2087:- technical treatment, accessible to laypersons
978:vibrates at a frequency below 5 Hz vibrato
1003:Vibrato and tremors have a change in amplitude
417:The alleged growth of vibrato in 20th-century
2153:
1925:Violin Vibrato: Its Mastery and Artistic Uses
1860:. Jacobs' Band Monthly, Volume 4. p. 52
1006:Both occur when the muscles are under strain
559:), there is no distinction between the two.
270:
1426:
1424:
1422:
1093:Traité théorique et pratique du Violoncelle
846:. Unsourced material may be challenged and
16:Regular, pulsating change of pitch in music
2160:
2146:
2004:. Princeton University Press. p. 45.
2167:
1885:. Central States Music Publishing Company
1757:
866:Learn how and when to remove this message
2024:
1594:"Mozart, L.: Violinschule - Kap. 11 (1)"
1419:
1217:
1130:
1109:
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192:
1997:
1980:
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1743:. Hal Leonard Corporation. p. 95.
1736:
1681:
1521:"Weinreich and Directional Tone Colour"
1016:
473:, in non-vibrato style, which he calls
2709:
1882:Cultivation of the Violin Vibrato Tone
1830:Bel Canto: A History of Vocal Pedagogy
1788:
1763:
1555:"The psychoacoustic secret of vibrato"
1518:
1253:Some manufacturers also build vibrato
1066:Cultivation of the Violin Vibrato Tone
356:Versuch einer grĂĽndlichen Violinschule
188:
2141:
2121:Use of Vibrato in Baroque Vocal Music
2100:- collection of critiques of vibrato.
1967:
1965:
1927:, pages 12 and 21. Carl Fischer, Inc.
1853:
1826:
1105:Massachusetts Institute of Technology
1046:
322:
267:will spin the sound around the room.
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1552:
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1321:inversely proportional to wavelength
967:vibrates at a frequency of 6.5 to 8
844:adding citations to reliable sources
811:
724:Italian or Spanish-trained operatic
622:—not to mention Fernando Valero and
2110:David Montgomery: The Vibrato Thing
2104:Roger Norrington writing on vibrato
1878:
1817:. Wiesbaden: Metzler, 1993, p. 163.
500:
220:
13:
1981:Farulli, Antonello (Jun 2, 2012).
1962:
84:Problems playing these files? See
32:
14:
2743:
2133:A riddle over vibrato of clarinet
2052:
1666:
1334:
1264:
783:stresses of a long stage career.
516:Some influential authors such as
249:
2070:
2058:
2034:. Clarendon Press. p. 476.
1984:Farulli - Bow vibrato (CLIP).mp4
1740:Franco Corelli: Prince of Tenors
943:Techniques for producing vibrato
816:
759:In 1883, Giuseppe Kaschmann (né
66:
48:
19:For the Paul Gilbert album, see
2018:
1991:
1939:
1930:
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1833:. University of Toronto Press.
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1793:. Scarecrow Press. p. 92.
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1329:perceive a change in frequency
1166:as early as the 16th century.
709:(in the 1900-1925 period) and
150:
1:
2075:The dictionary definition of
1519:Curtin, Joseph (April 2000).
1412:
1287:varies directly with distance
1160:Sylvestro Ganassi dal Fontego
1097:Acoustical Society of America
771:, was unable to turn his pre-
428:Vienna Philharmonic Orchestra
424:Berlin Philharmonic Orchestra
376:Musica instrumentalis deudsch
287:Use in various musical genres
1622:: Vol. 4: No. 1, Article 3.
763:) — a principal baritone at
505:On the clavichord, tremolo (
479:20th-century classical music
317:Violin Playing as I Teach It
23:. For the Stellar song, see
7:
1998:Neumann, Frederick (1983).
1620:Performance Practice Review
1380:
1169:
804:(Century, New York, 1903).
802:30 Years of Music in London
569:
10:
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1628:10.5642/perfpr.199104.01.3
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485:to use it (in some of the
173:, or descriptions such as
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139:) or electronically as an
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2727:Italian opera terminology
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798:Tenor: History of a Voice
600:Music in London 1890-1894
543:To other authors such as
271:Typical extent of vibrato
1813:Fischer, Peter-Michael:
1682:Pharand, Michel (2019).
1178:
632:Giovanni Battista Rubini
370:to be used selectively.
1091:, in his 1922 treatise
667:William James Henderson
538:Wolfgang Amadeus Mozart
471:Last Night of the Proms
1879:Bissing, Petrowitsch.
1815:Die Stimme des Sängers
1716:10.5325/shaw.39.1.0111
1700:10.5325/shaw.39.1.0111
1239:
1150:Some violinists, like
1136:
1128:
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996:
993:Peter-Michael Fischer.
315:, writing in his book
204:The terms vibrato and
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37:
2655:Stile rappresentativo
1854:Eaton, Louis (1919).
1827:Stark, James (2003).
1764:Larsen, Grey (2013).
1737:Seghers, Ren (2008).
1285:) and sound pressure
1229:
1207:diaphragmatic vibrato
1134:
1122:
1060:
986:
793:The Record of Singing
790:'s two-volume survey
644:Giovanni Matteo Mario
461:season by conducting
196:
36:
2067:at Wikimedia Commons
1205:. In brass playing,
1123:Vibrato played on a
1017:Keyboard instruments
840:improve this section
127:. The vibrato of a
108:", to vibrate) is a
2328:Tragédie en musique
2197:Concert performance
2085:Vibrato or tremolo?
1600:on December 8, 2007
1578:Lodovico, Zacconi.
1156:Francesco Geminiani
1062:Petrowitsch Bissing
898:background such as
769:Riccardo Stracciari
711:Giacomo Lauri-Volpi
592:George Bernard Shaw
440:Camille Saint-Saëns
342:Vocal music of the
189:Vibrato and tremolo
2722:Singing techniques
2660:Tenore contraltino
2096:2004-02-16 at the
1580:Prattica di Musica
1553:Schleske, Martin.
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1074:string instruments
1070:
1047:String instruments
1033:for example). The
699:Giovanni Zenatello
663:Metropolitan Opera
657:Accordingly, when
408:continuous vibrato
394:composers such as
323:In classical music
256:string instruments
202:
38:
2704:
2703:
2063:Media related to
2026:Kurtzman, Jeffrey
1912:978-1-901507-00-3
1750:978-1-57467-163-6
1431:Sundberg, Johan.
1387:List of ornaments
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1145:vibrato tailpiece
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1101:Wellesley College
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754:Conchita SupervĂa
746:Gemma Bellincioni
695:Giuseppe Borgatti
683:Francesco Marconi
679:Francesco Tamagno
636:Gaetano Donizetti
624:Fernando De Lucia
467:Enigma Variations
455:Arnold Schoenberg
129:string instrument
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2665:Tenore di grazia
2420:Aria di sorbetto
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2091:The Vibrato Page
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707:Alessandro Bonci
691:Emilio De Marchi
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620:Ernesto Nicolini
604:Enrico Tamberlik
501:In Baroque music
447:Roger Norrington
410:was invented by
404:Roger Norrington
337:Lodovico Zacconi
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1840:9780802086143
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1800:9780810845800
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1775:9781619114487
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1531:on 2014-12-29
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1296:
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1284:
1276:
1275:Hammond organ
1272:
1262:
1260:
1259:chorus effect
1256:
1255:effect pedals
1251:
1249:
1245:
1237:
1233:
1211:
1208:
1204:
1203:slide vibrato
1200:
1195:
1191:
1189:
1185:
1176:
1167:
1165:
1164:viol da gamba
1161:
1157:
1153:
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1099:, along with
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856:February 2010
849:
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835:
834:
830:
825:This section
823:
819:
814:
813:
805:
803:
799:
795:
794:
789:
788:Michael Scott
784:
780:
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757:
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747:
743:
739:
738:Adelina Patti
735:
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664:
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659:Enrico Caruso
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584:Henry Chorley
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244:effects units
241:
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228:Carl Seashore
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63:
45:
26:
22:
2679:
2625:Solita forma
2505:Da capo aria
2399:Sprechgesang
2359:Kammersänger
2298:Haute-contre
2252:Sung-through
2077:
2030:
2020:
2000:
1993:
1983:
1973:Ghostarchive
1971:Archived at
1953:. Retrieved
1941:
1932:
1924:
1919:
1904:
1899:
1889:November 16,
1887:. Retrieved
1881:
1874:
1864:November 16,
1862:. Retrieved
1856:
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1829:
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1814:
1809:
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1765:
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1668:
1662:
1651:. Retrieved
1647:
1638:
1619:
1614:
1604:November 29,
1602:. Retrieved
1598:the original
1588:
1579:
1573:
1565:
1558:. Retrieved
1548:
1539:
1533:. Retrieved
1529:the original
1524:
1514:
1505:
1496:
1487:
1478:
1469:
1459:
1447:. Retrieved
1440:the original
1402:Vibrato unit
1324:
1298:
1290:
1278:
1268:
1252:
1241:
1234:, played on
1232:effect pedal
1214:Auto-vibrato
1206:
1202:
1196:
1192:
1182:
1173:
1149:
1138:
1092:
1078:
1071:
1065:
1038:
1020:
997:
987:
979:
958:
946:
933:
893:
877:
862:
853:
838:Please help
826:
801:
797:
791:
785:
781:
761:Josip Kašman
758:
723:
703:
670:
656:
652:
628:
599:
588:Herman Klein
581:
577:
573:
561:
555:(student of
542:
531:
515:
511:
504:
482:
474:
463:Edward Elgar
444:
432:
416:
407:
389:
386:Vibrato wars
375:
365:
354:
349:
341:
333:
326:
316:
313:Leopold Auer
306:
290:
274:
261:
253:
236:
224:
203:
182:
178:
174:
170:
166:
162:
159:
141:audio effect
118:
93:
92:
83:
2605:Prima donna
2580:Opera seria
2500:Convenienze
2490:Comprimario
2480:Chiaroscuro
2242:Patter song
2237:Opera house
2192:Chest voice
1914:, page 221.
1560:11 February
1081:Carl Flesch
916:Middle East
773:World War I
491:BĂ©la BartĂłk
380:sheet music
344:renaissance
198:Spectrogram
171:tremblement
151:Terminology
2711:Categories
2696:HovsĂĄngare
2615:Ritornello
2610:Recitative
2600:Portamento
2560:Melodramma
2535:Intermezzo
2530:Impresario
2520:Falsettone
2485:Coloratura
2313:Répétiteur
2207:Head voice
2011:0691027072
1955:2023-12-28
1857:The Violin
1653:2020-05-30
1535:2009-05-23
1413:References
1230:A vibrato
1188:embouchure
1035:clavichord
895:Folk music
675:gramophone
564:flattement
495:minimalist
469:, and the
419:orchestral
86:media help
2670:Tessitura
2595:Pasticcio
2590:Passaggio
2525:Fioritura
2495:Contralto
2465:Cantabile
2455:Cabaletta
2435:Bel canto
2394:Spieloper
2389:Sitzprobe
2384:Singspiel
2379:Regieoper
2369:Leitmotif
2303:Intermède
2293:Entr'acte
2257:Surtitles
2227:Monodrama
2222:Melodrama
2217:Mad scene
2174:by origin
1724:194355992
1708:0741-5842
1648:The Strad
1449:4 October
976:diaphragm
949:xylophone
920:East Asia
827:does not
734:baritones
715:bel canto
669:wrote in
648:fioritura
557:Geminiani
527:tremulant
475:pure tone
451:Beethoven
435:overtones
297:tenor sax
143:close to
2650:Stagione
2620:Sinfonia
2545:Libretto
2515:Falsetto
2475:Cavatina
2470:Castrato
2450:Burletta
2445:Brindisi
2333:Travesti
2308:Overture
2247:Prompter
2202:Duodrama
2094:Archived
1987:(Video).
1975:and the
1669:Traverso
1381:See also
1248:theremin
1199:trombone
1170:Woodwind
1103:and the
991:—
765:La Scala
726:sopranos
570:In opera
518:Matteson
392:Romantic
368:ornament
175:wavering
2680:Vibrato
2675:Verismo
2645:Squillo
2630:Soprano
2555:Maestro
2550:Licenza
2460:Cadenza
2440:Bravura
2408:Italian
2318:Roulade
2180:English
2078:vibrato
1397:Tremolo
1027:Hammond
955:Singing
912:Balkans
890:In folk
848:removed
833:sources
808:In jazz
671:The Sun
553:Bremner
549:Zacconi
545:Tartini
329:Baroque
299:player
206:tremolo
163:tremolo
156:History
121:singing
110:musical
106:vibrare
100:, from
98:Italian
94:Vibrato
2640:Spinto
2575:Musico
2540:Legato
2425:Arioso
2342:German
2323:Timbre
2288:Encore
2273:Claque
2266:French
2232:Number
2038:
2008:
1910:
1905:Basics
1837:
1797:
1772:
1747:
1722:
1714:
1706:
1308:d) = k
1040:Bebung
930:In pop
914:, the
910:, the
732:, and
719:timbre
596:tenors
590:, and
551:, and
522:Hiller
507:bebung
361:Rococo
309:string
211:guitar
183:trillo
167:bebung
145:chorus
125:larynx
2689:Other
2585:Ossia
2430:Banda
2172:terms
2169:Opera
1950:(PDF)
1720:S2CID
1712:JSTOR
1443:(PDF)
1436:(PDF)
1300:A = k
1291:P = k
1279:A = k
1197:On a
1179:Brass
1125:cello
1023:organ
924:India
922:, or
884:bebop
878:Most
459:Proms
281:cents
277:cents
179:shake
169:, or
114:pitch
2510:Diva
2415:Aria
2349:Fach
2036:ISBN
2006:ISBN
1908:ISBN
1891:2012
1866:2012
1835:ISBN
1795:ISBN
1770:ISBN
1745:ISBN
1704:ISSN
1688:Shaw
1606:2009
1562:2010
1451:2010
1325:i.e.
1083:and
974:The
963:The
880:jazz
831:any
829:cite
748:and
740:and
697:and
638:and
618:and
520:and
398:and
294:jazz
217:).
131:and
104:of "
1696:doi
1624:doi
1029:or
926:.
902:or
842:by
489:of
483:not
465:'s
453:to
353:’s
181:or
119:In
2713::
1979::
1964:^
1718:.
1710:.
1702:.
1692:39
1690:.
1686:.
1646:.
1564:.
1538:.
1523:.
1421:^
1331:.
1304:(k
1269:A
1261:.
969:Hz
951:.
918:,
728:,
721:.
693:,
689:,
685:,
681:,
614:,
610:,
606:,
586:,
547:,
246:.
177:,
165:,
147:.
2161:e
2154:t
2147:v
2044:.
2014:.
1958:.
1893:.
1868:.
1843:.
1803:.
1778:.
1753:.
1726:.
1698::
1671:.
1656:.
1626::
1608:.
1453:.
1316:d
1314:2
1312:k
1310:1
1306:2
1302:1
1295:d
1293:2
1289:(
1283:P
1281:1
1238:.
1127:.
1068:.
971:.
869:)
863:(
858:)
854:(
850:.
836:.
96:(
88:.
27:.
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