''I'm nearly as good as I need to be,
but not nearly as good as I'd like to be".
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Do whats comfortable to you. If it is the "sound" that you have in your head and thats what you want to sound like, keep doing it. Its all personal at the end of the day. If you don't mind me asking what style/kind of playing are you doing?
Vibrato is the natural state, just listen to any untrained singer. We learn to work at stopping this vibrato to produce a "steady tone". To play with vibrato is to either not stop it, or you can continue to inhibit your natural vibrato and superimpose a vibrato from your air (diaphragmatic vibrato), hand (this one is very common), or chin (sometimes referred to as the Nanny-goat vibrato).
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Watch Doc Severinsen in any old clips. There is nothing wrong with hand vibrato (ask any violin player)
1954 Olds Super w/Bach 43 uptilt bell Frankenhorn
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1965 Bach Stradivarius Model 37
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1956 Conn 80A Cornet
1951 Olds Special Cornet
1965 Olds L-12 Flugelhorn
"Hindsight is always 20-20"
"I'd rather have it and not need it than need it and not have it"
I have a gut feeling...that hand vibrato CAN and HAS been used for pretty WIDE and noticeable vibrato. But, my impression is that this fell out of favor in the 70's ... or later - like after the Lawrence Welk-type era. Not to say you can't do a mild vibrato with your hand, though, of course.
It MAY be CONSIDERED more modern to do it with your mouth (and all the parts that go with it).
Another thought - if you learn the mouth-type vibrato, then you may be more easily able to "throw-in" little end (quick) vibratos (bends and dips) at the end of notes just before going to the next note (Jazz). I don't know if I'm being clear here or not, but these effects could be considered to be generated the same way - with the same equipment - the mouth.
Anyone else agree?
-2008 & 2012 Phaeton 2030 Bb Antiqued Brass Trumpet
-2011 HTF-2500 Phaeton Flugelhorn
-1983 Bach Strad 43 * Bell Silver Trumpet
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My professor (Gerald Webster) argued that a hand vibrato would change depending on fingering at the time. I didn't think about it then, because I used a "jaw" vibrato or whatever (I still don't think about it much) and maybe a "tongue"" vibrato for adding excitement to certain tones playing lead. I dunno.
I do know that depth of vibrato and speed of vibrato are two important variables, and that a one dimensional vibrato gets boring to listen to very quickly. I would suggest playing long tones without vibrato at first (some players can't turn their vibrato off, and that gets boring even more quickly than the one dimensional vibrato) then add vibrato, varying speeds and depth until you can unconsciously get "just the right" vibrato at any given moment.
Rolf Quinque had an exercise that is like doing power crunches for the cheeks. Play long tones with a wide and exaggerated vibrato (not hand) and you can feel the burn inside of two minutes.
Exercises like that keep us humble.
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
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