译：梁潇
There are drawbacks to a throat vibrato. Sometimes it can result in a “nanny goat” vibrato that is too fast. In other individuals the vibrato can be choked off at each pulse. In both cases it is important to support properly the tone and view the vibrato as coloration or gentle massaging of the tone. In all cases, seek to relax the throat area and allow free movement.
喉咙颤音有一些缺点。有些时候，会产生速度过快的颤音现象，我称之为“保姆羊”颤音。还有其他的情况，即颤音会在每一次有节奏的间歇处被阻碍。对于这两种情况，重要的是适当地为音色提供支持，并把这时的颤音看作音色的“染色剂”或在为音色做着”柔和的按摩”。在任何情况下，记住要放松咽喉区并确保可以自由地移动。
Using the throat for the vibrato allows for vibrato to be independent of fingering and pitch control. However, I many times find students restarting the vibrato with each note change. Take, for instance, the pickup to line 7 in Weissenborn Study #35. Often it is played like this:
运用喉咙制造颤音的确可以使得颤音不影响我们控制指法和音高。但是，我经常发现学生们在换每个音的时候都重新开始颤音。比如，《维斯伯恩高级练习曲》第35首，连到第7行的引导音通常被演奏成这样：
Example with vibrato restarting
There are times at which I will restart my vibrato like that.
However, that is a coloration of the notes rather than an expression of music motion or phrasing. I prefer to be able to do both. Many of my students, however, at first can only turn on the vibrato with the start of each note.
1.
有些情况下，我会重新像那样重新开始我的颤音。但是，这样做的目的是为这个音润色而不是因为音乐或乐句的表现需要。我宁愿能够一举两得。然而，我的很多学生起初只能做到每个音都重新开始颤音。
Let’s practice the musical phrase—a drive—with dynamics and vibrato, on a monotone. Playing on a single tone is a great practice method for musical gestures. This really helps you to isolate musical phrasing, dynamics, and vibrato. I will set the metronome so that you can hear the beats.
让我们做一个乐句练习－一个很有效的训练－在单音上加入强弱变化和颤音。演奏单音对于培养乐感是很好的练习方法。这会帮助你暂时把乐句、强弱和颤音分开思考和处理。我现在设定节拍器，这样你就可以听到节拍了。
Example Play on single note
Did you hear that I am shaping the notes, driving the notes to the downbeat of the second measure?
你有没有听到我在这些音上做变化，以及把这些音带向第二小节的第一拍？
Here it is again.
Example single note.
Did you notice that I am varying both the dynamics and my vibrato? Both are creating a continuous arc or rainbow of sound that is not chopped up.
你有没有注意到我在强弱和颤音上都做了变化？这两者都创造了一个连续不断的弧线或者彩虹，但它们都是连贯而非切碎的。
Now let’s hear that as written, but retaining the same phrase shape.
现在，我们来听一下乐谱上所写的，但是要保持同样的乐句变化。
Example as written
Just a few studies ago Weissenborn provided us with another example for practicing vibrato. Take a look at the opening of study #33.
维斯伯恩在前面的一首练习曲中也给我们提供了颤音练习。让我们一起看看第33首的开始部分。
For instance, I start with two, 2-bar gestures followed by a much longer phrase. Notice that I use changes in the dynamics and vibrato to emphasize the phrase shaping.
比如，我从两个2小节的小单元开始，随后跟着一个较长的乐句。请注意，我用了强弱和颤音的变化来处理这个乐句。
Example from video
You can practice mastery of your vibrato by varying the speed. Set the metronome to 60 and try varying the number of pulses per beat.
你可以通过多样的速度练习从而熟练掌握颤音的技巧。把节拍器设定在60，然后尝试每一下演奏不同拍数。
Play : 11 22 33 44 55 44 33 22 11
Most often people increase the speed of their vibratos in tandem with an increase in dynamics. This is what I did in the two examples earlier in this video. However, if you really want mastery of vibrato you need to vary the speed at any dynamic. You will know you that you have gained independent control of components 1 and 2 when you can perform these exercises:
人们通常演奏颤音时速度和强弱成正比，正如我在本视频的开始演奏的示例。但是，如果你真的想熟练掌握颤音，你需要能够在任意强弱状态下改变速度。当你可以演奏下面这些练习时，你会发现你已经可以独立地控制第一和第二部分了。
CREDITS 感谢
Larynx Illustration from Henry Gray, Anatomy of the Human Body, 1918, accessed from www.bartleby.com, 16 Aug 2006.
Vibrato references
Brown, Andrew F. David. “A Comprehensive Performance Project in Oboe Literature with a Cinefluorographic Pilot Study of the Throat While Vibrato Tones Are Played On Flute and Oboe.” D.M.A. thesis, University of Iowa, 1973.
Burns, Michael. “Thoughts and Strategies for Bassoon Vibrato.” The Double Reed 28/2 (2005): 121-124.
Cameroni, Kathleen A. “Effects of Vibrato Production Techniques and Use on Musical Collaborations among Flutists, Oboists, Clarinetists, and Bassoonists” https://kb.osu.edu/dspace/bitstream/handle/1811/37093/Cameron_Hayes09.pdf?sequence=1
Eberle, Jan. Presentations at the International Double Reed conferences in 2005 and 2006. IDRS Video: (2005) “Vibrato......no longer a mystery” http://www.idrs.org/multimedia/video/browserecord.php?-action=browse&-recid=785.
Ewell, Terry B. “Survey of Cinefluographic and Videoflurographic Research on Double Reed Performers,” Celebrating Double Reeds: A Festschrift for William Waterhouse and Philip Bate. Baltimore: International Double Reed Society, 2009, pp. 143-158.
Kahane, J. C.; Beckford, N. S.; Chorna, L. B.; Teachey, J. C.; and McClelland, D. K. “Videofluoroscopic and Laryngoscopic Evaluation of the Upper Airway and Larynx of Professional Bassoon Players.” Journal of Voice 20/2 (2006): 297-307. Also accessed 22 July 2006 at http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=
Retrieve&db=PubMed&list_uids=16223575&dopt=Abstract.
Peeples, Georgia. “Developing the Bassoon Vibrato.” Woodwind, Brass, and Percussion 23/2 (February 1984): 17-18.
Pool, Scott. Bassoon Vibrato Production: Observations of the Larynx. Available athttp://www.amazon.com/Bassoon-Vibrato-Production-Observations-Larynx/dp/3843351953
Pool, Scott. "Observations of the Larynx During Vibrato Production Among Professional Bassoonists as Indicated in Experiments Utilizing Fiberoptic Laryngoscopy" (UMI Number: 3158141, Copyright 2004).
Weait, Christopher and Shea, J. “Vibrato: An Audio-Video-Fluorographic Investigation of a Bassoonist,” Applied Radiology (January/February 1977).