Vibrato

Vibrato is a musical effect where the pitch of a note is quickly and repeatedly raised and lowered over a small distance for the duration of that note. It is sometimes known as tremolo, but that word is less frequently used because it can also mean a rapid repetition of one note, or between several different notes.

The extent of the variation in pitch in vibrato is down to the performer, but does not usually exceed a semitone either way from the note itself. The effect is intended to add warmth to a note. A helpful side effect is that it can help to disguise bad tuning.

A precursor to vibrato was the trillo (not to be confused with a trill), used in vocal music in the early 17th century, where a singer would rapidly repeat the same note on one sylable. The effect was much more strident than that of vibrato, and is compared by some to the bleating of a sheep.

Not all instruments can produce vibrato, as some have fixed pitches which can not be varied by sufficiently small degrees. Most percussion instruments are examples of this, as is the piano. Some types of organ however, can produce the effect by altering the pressure of the air passing through the pipes, or by various mechanical devices (see the Hammond or Wurlitzer Organs for example).

The method of producing vibrato on other instruments varies. On string instruments, 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.

In pop music the effect is sometimes heard on the guitar and some, but not all singers, use it (in some pop ballads, the vibrato can be so wide as to be a pronounced wobble). In jazz it tends to be used selectively , with many jazz musicians not using vibrato except where they want to create a specific effect. The use of vibrato in some folk musics is rare, although in Eastern European gypsy music, for example, its use is very widespread.

Vibrato in classical music

The use of vibrato in classical music is a matter of some contention. From texts such as Leopold Mozart's Versuch einer gründlichen Violinschule (1756), it is known that composers of the baroque period did not expect vibrato to be used except occasionally when a specific effect was required. Despite this, until the rise of historically informed performances in the 1990s, it was common for 20th century performances of baroque works to use a continuous vibrato. Now, this is less common.

Its use in music of the classical period is more common, although there too it has dropped off somewhat. In romantic music, however, its almost continuous use is almost universal. However, a number of people have argued that composers of the 19th century did not expect continuous vibrato, and so it should not be used.

Despite this, the use of vibrato in romantic music goes largely uncontested. Many people 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 20th century classical music, written at a time when the use of vibrato was widespread, there is sometimes a specific instruction not to use it (in some of the string quartets of Bela Bartok for example). Furthermore, some modern classical composers, especially minimalist composers, are against the use of vibrato at all times.

External Links

Vibrato or tremolo? technical treatment, but accessible to laymen