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The Hand Vibrato
for Trumpet
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| VIBRATO FACTORS
1. The correct method of holding the right hand (if one is
"right-handed"). This will be confined to the correct method
for trumpet and the only factor NOT applicable to any other family
of brasses (trombone, french horn, baritone horn, etc.). All
other factors apply to ALL brasses.
2. Evenness of pulsation.
3. Speed
4. Width
5. Effects
FACTOR #1: The correct
"vibrato hand" position for trumpet, below:
"Thumb between 1st &
2nd valve casing" - CORRECT VIBRATO HAND
Control is obtained from
the action between the little finger and the thumb of the right
hand (in a right-handed performer). The higher the note, the
more pressure is applied to the thumb, thus controlling the two
factors of SPEED and WIDTH (discussed later in this paper). |
After the position of the "vibrato
hand" has been established, the first goal is EVENNESS OF PULSATION.
A "pulsation" is the "vibrato hand",
moving away from the face and towards the face. With a firm and
consistent left hand grip, this EVENNESS of pulsation is illustrated
as such:
EVENNESS OF PULSATION
| As to SPEED (how many
pulsations per beat) - in our present day concept, six (6)
pulsations to the beat is considered normal. There is some
argument on the part of some players as to whether the first half
of the first pulsation should be a motion AWAY from the face or
TOWARDS the face; however, the difference may be purely
"psychological" in nature rather than in any actual sound
difference. Click the diagram, right, to see the
enlargement... |
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| Due to added "pitch sensitivity"
in the upper register (with the closeness of the partials), the
WIDTH of the "vibrato hand motion" must be considerably less in
order to compensate. As stated earlier, the higher the
note, the more the thumb pressure is to be applied, thereby
causing the "vibrato hand" to respond in a shorter stroke
from "face to bell". In other words, if the vibrato width is
the same in all registers, it will "sound" drastically different.
Therefore, "Width Compensations" must be made in the various
registers. As an example, the intensity of the vibrato of, say,
Bill Chase or Lin Biviano in the upper register, and the subtle
vibrato of Chet Baker or Miles Davis will be noticed due to "width
compensations". Of course, the intensity of the "blowing" is
a factor in producing the different registers, yet the WIDTH
factor very much adds to that intensity.
In the early stages of mastering the "hand vibrato", do not
concentrate on any EFFECTS until the problems of the correct
"vibrato hand" position, evenness of pulsation, and the the width
factor have been thoroughly mastered. Strive then to
vibrate in ALL registers, in ALL positions (valve combinations or
slide positions) and then continue the vibrato WHEN PASSING FROM
ONE NOTE TO THE OTHER. later, practice "hitting the tone
straight" and vibrating a split-second later. Other effects
are only limited by your creative capabilities.
Other vibratos, such as the "lip vibrato, the "jaw vibrato" or
the "diaphragm vibrato" (breath pulses) all have different effects
on the sound. For preference, it is advisable to master the
"hand vibrato" and use the others for different effects.
Only
The "hand vibrato" offers the least affect on upsetting the
embouchure and is in complete control of the player, whereas the
others tend to be "subconsciously automatic" as a player advances
into the late years of his/her playing career and are almost
impossible to "stop or start" at will. |
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