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Discussion in 'Trumpet Discussion' started by mrcomixmaster, May 8, 2013.
That would be a birth control device that is ill fitted in my female patients.
I don't disagree with the main content of this statement, but you can voluntarily "control" the diaphragm by forcing our abdominal content (with tightening voluntary abdominal muscle) against the diaphragm. This is helpful in providing support for hitting higher octave notes with less effort on the embrasure.
The diaphragm vibrato caught the favor of woodwind players in about the mid-nineteenth Century about the same time as the jaw vibrato, and superseded the 18th Century finger vibrato (waving a finger above an open hole.) Allegedly not affecting pitch as much as the jaw vibrato, it is essentially a variation of "ha-ha-ha-ha" and although claiming to be from the diaphragm it is produced largely by the larynx. Natural trumpet players had no need for vibrato, although "huffing" was used as an "trilling" ornament even to the time of Bach.
The recordings of Herbert L. Clarke include some fine examples of diaphragm vibrato (which to my ears sounds like a billy-goat). I prefer the "jaw" vibrato even though it goes against some earlier writings on orchestral trumpet playing and even use the forbidden "jazz" version, which allows us to change intensity and speed during a single note!
Vibrato is an element of style, but there is a huge amount of fashion involved.
It is both voluntary and involuntary:
Ever been asked to take a deep breath and exhale by a doctor? It is voluntary.
Do you have to think about breathing while sleeping? It is involuntary.
And how exactly would I go about vibrating that?
Nevermind, that is for a different forum.
Hey thanks for telling me this. I found that i can't really use lip vibrato above the staff, your right, the notes are too close together. I think with practice i could manage it, but hand vibrato is easiest in that register for me. For the lower register i think ill use a combo of diaphragm (air) vibrato and lip for now. By doing this for a bit, i think i will get acquainted with all three types as well as i can, then decide one to use for everything
Watch a Belly Dancer!
Interesting posts and responses to your vibrato question. If you are not confused yet I have one more set of notions to offer and they are not mine. This is found in Jeanne Pocius' book Trumpeting by Nature. The book is one you need to PM me about so don't go out and buy it. Jeanne (on page 201) lists seven types of vibrato with a short comment on each... AND on the next page she concludes with the statement, "Any or all of these techniques can be developed with practice, and should be used as ornaments, not justifications of sound."
My limited, unprofessional experience is that the trumpet has a very, very wide range and any method of vibrato can have a down side to it at certain or in all ranges, so we will forever be advising and discussing this topic. I was taught the hand/wrist vibrato by my pro teacher however he was willing to point out that other guys do this or that and it works for them. I will also admit that the hand vibrato seems to be the safest for the developing player. And yes, there are many ways to skin that cat. Personally....I think there is something so cool when I watch a real pro play that sweet horn, effortlessly, no tension in the face and with no movement in the hands, arm or jaw, AND there is this beautiful vibrato coming and going at just the right time. I just love to watch that. Yes, I'm so jealous of all you guys.
If you use all three vibrato's at the same time you can sound like an air raid siren on a double shot of 5 hour energy drinks.......just sayin....