Mozart’s Bassoon Concerto, Part 15. Vibrato
Mechanisms. Presenting research by Profs. Jan Eberle, Christopher
Weait, Scott Pool, and others. By Terry B. Ewell, Bassoon Digital
Professor. BDP #226. With Elaine Ross, piano. www.2reed.net.
<music: “Mozart Mashup” with Terry Ewell and Elaine Ross.>
1. Welcome. This is the second of four videos dedicated to vibrato in
the Mozart Bassoon Concerto. In the prior video, we reviewed historical
materials and concluded that during Mozart’s time the application
of consistent vibrato was not typical. In this video, I will present an
overview of the body components or mechanisms by which vibrato can be
produced.
2. First, I want to recommend publications on vibrato by Prof. Jan
Eberle of Michigan State University in the USA. She provided two
presentations at International Double Reed Society Conferences in 2005
and 2006 and published an important article on the subject.
International Double Reed Society (IDRS) members can view her
presentation on video at this link:
• 2005 IDRS Conference, The University of Texas at Austin
• Link
3. Her article is available to IDRS members at this link:
• Jan Eberle, “Vibrato: No Longer a Mystery!” The Double Reed 29/3 (2006): 128-130.
• Link
4. In the presentations and article Prof. Eberle notes that there are
nine ways to produce vibrato on the modern oboe. All of these methods
also apply to the bassoon:
• Hand, 2. Jaw, 3. Tongue, 4. Diaphragm, 5. Whistle, 6. Sister, 7. Laugh, 8. Cough, 9. Vocal
5. Please notice that flattement or finger vibrato presented in the last video is not listed here.
6. In this video, I will use figures presented in my monograph
“Wind Performer’s Guide to Increasing Endurance” to
illustrate Prof. Eberle’s types of vibrato. I will retain the
same figure numbers as in the publication.
• Link
7. Hand vibrato indicates shaking the instrument in order to create
vibrato. The is a technique employed by many trumpet performers,
however, it is not recommended for double reed players.
8. Jaw vibrato requires movement of the mandible. Moving the jaw in
rapid chewing motions will alter the tone with vibrato. This vibrato is
employed by several bassoonists; however, it produces wide variation in
the pitch of notes. I do not recommend this vibrato.
9. Prof. Eberle indicates that tongue vibrato occurs in the region of
the tongue near the soft palate. Saying “yo, yo,
yo…” rapidly approximates this tongue vibrato. I do not
recommend this type of vibrato. The tongue already has enough to do
with articulation and tuning by means of vowels.
10. The next type of vibrato is incorrectly labeled by Prof. Eberle.
The diaphragm is a muscle that brings air into the lungs and physically
it cannot be employed for vibrato. Instead, this vibrato should be
labelled “abdominal” or “thoracic.” This
vibrato is created with quick pulsings of the abdominal and intercostal
muscles, which force air out of the lungs. Many wind players are told
that this is the only and correct means by which to produce vibrato.
The problem with this type of vibrato is that it is quite slow.
11. Before we move on, let’s examine the five components that are
employed for tone production or articulation. We have the lungs and
associated muscles, the throat area, the back of the tongue near the
soft palate, the front of the tongue, and the jaw. With the exception
of the front of the tongue, Eberle indicates that all of these may be
employed for vibrato.
12. She and I agree, however, that it is best to use mechanisms for
vibrato that are independent of the other demands of performance. The
lungs and associated muscles need to be employed for dynamics, the back
of the tongue for tuning or double tonguing, and the jaw and embouchure
for tuning and dynamics. This leaves us with the throat area as a
source for vibrato that is independent of all of the other demands of
the instrument.
13. Prof. Eberle recommends using only the last five items her list as
an appropriate means of producing vibrato. Note that all of these
vibratos are presented in the region of the throat. Eberle’s
insight into vibrato is that there are varied ways to use mechanisms in
the region of the throat to create vibrato. This point of view has been
confirmed by videoflourographics studies.
14. My book chapter “Survey of Cinefluorographic and
Videofluororgraphic Research on Double Reed Performers” provides
an overview of “Xray motion pictures” taken of performers
while playing double reed instruments. One of the most interesting
conclusions from the studies was that professional double reed
performers do not make use of the same mechanisms to produce vibrato.
• Terry B. Ewell, “Survey of
Cinefluorographic and Videofluororgraphic Research on Double Reed
Performers.” In Celebrating Double Reeds: A Festschrift for
William Waterhouse and Philip Bate (Baltimore: International Double
Reed Society, 2009), pp. 143-157.
15. The muscles and structures in the region of the throat are complex
and varied. Vibrato is produced by one or more of the muscles.
Sometimes multiple muscles produce the vibrato in tandem.
16. The “Whistle” vibrato is made with muscles under the chin.
17. The “Sister” vibrato is made in the upper throat in the
lower tongue region. The sound “sis” is repeated.
18. The “Laugh” vibrato is produced can be simulated with
“ha, ha, ha” sounds. It located further down the throat.
19. The “Cough” vibrato is simulated with coughing sounds. It located yet lower in the throat.
20. The “Vocal” vibrato is produced in a manner done by
most singers. Prof. Eberle notes that this is the most common vibrato.
This vibrato is created by fluctuations in the vocal folds.
21. Many double reed performers are surprised to learn that most
performers produce vibrato in the throat region, most often with the
vocal folds.
22. However, research by Christopher Weait, Scott Pool, and their
colleagues have demonstrated that this is the case. I encourage you to
further study their fine research.
• Christopher Weait and J. Shea, “Vibrato:
An Audio-Video-Fluorographic Investigation of a Bassoonist,”
Applied Radiology (January/February 1977).
• Pool, Christopher Scott. “Observations
of the Larynx during Vibrato Production among Professional Bassoonists
as Indicated in Experiments Utilizing Fiberoptic Laryngoscopy.”
D.M.A. diss., The University of Arizona, 2004.
ISBN: 0-496-90694-1
• Scott Pool, Bassoon Vibrato Production (Lambert Academic Publishing, 2010)
23. Also, here are additional references that you might find useful.
• 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.
DMA, The University of Iowa, 1973.
• Carr, Walter Edward, Jr. “A
Videofluorographic Investigation of Tongue and Throat Positions in
Playing Flute, Oboe, Clarinet, Bassoon and Saxophone.” D. M. A.
diss., University of Southern California, 1978.
• Gossett, Claude W., Jr. “A
Spectrographic and Electromyographic Investigation of the Relationship
of the Effects of Selected Parameters Upon Concurrent Study of Voice
and Oboe.” Ph. D. diss., University of Southern Mississippi, 1977.
• 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, this can be accessed at Link
24. In summary, the muscles and structures in throat are the best
region for the production of vibrato. This is confirmed by Profs.
Eberle, Weait, Pool, and others. The way in which the vibrato is
produced in the throat, however, may differ from player to player.
25. In the next video, we will discuss how to practice vibrato.
<music: “Mozart Mashup” with Terry Ewell and Elaine Ross.>