Dear Listers,
The subject of vibrato has always fascinated me. Here are a few
personal ruminations on vibrato that you might consider: In
describing vibrato I would consider five main characteristics -
frequency variation, amplitude variation, timbre variation, speed
(number of variations per second), and changes in the magnitude of
vibrato during a single tone. All are involved in any singers' use of
vibrato. Frequency variation is the most obvious and easiest to
detect. Some pop singers have used a vibrato focusing on amplitude
variation (Donovan?). Because "bel canto" training almost always
involves vibrato, it is difficult for opera singers (until more
recently) to sing with a straight tone. Variations in frequency,
amplitude, and timbre are more pronounced (and perhaps more
acceptable) at louder volumes and higher pitches. I think this is
just part of the nature of singing. I don't think singers consciously
widen their vibrato in order to be heard above the orchestra. A
really well-trained singer should have control over all five
characteristics I listed above.
You can probably guess that I care not for the diva with a drive-thru
vibrato (and cleavage to match).
Disrespectively,
Hal
--
Harold Owen
2830 Emerald St., Eugene, OR 97403
mailto:[EMAIL PROTECTED]
Visit my web site at:
http://darkwing.uoregon.edu/~hjowen
FAX: (509) 461-3608
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