Tone or Sound Does vibrato oscillate below the pitch, above it, or somewhere between

Does jaw vibrato go above or below the pitch?

  • Vibrato oscillates below the pitch

  • Vibrato oscillates above the pitch

  • Vibrato oscillates above and below (ie around the pitch)

  • Something else


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So... I will put this here and let the grown-ups sort out the chaos... >:)

As for my ignorant point of view about vibrato and the sax, it goes along the lines of 'perception, huh ? that's a veeeery tricky thing...'
 
Just a quick interjection...as an oboe player. We don't use lip vibrato. It's about breath and called diaphragm vibrato and uses variance of breath which can also be used by singers. It can also result in a dip and rise in frequencies but has nothing to do with the lip. This can also be used on flute and sometimes I use it on sax as well.

Although I've never heard of tongue vibrato I'm guessing it's a similar principle where the flow of air is slightly interrupted in a pulsing manner?
 
diaphragm vibrato
Isn't that mentioned in The Art of or another classic reference? I think it was presented as another possible choice but maybe was used more in classical music? Since it's not discussed much in these parts, I haven't messed with it.
 
Just a quick interjection...as an oboe player. We don't use lip vibrato. It's about breath and called diaphragm vibrato and uses variance of breath which can also be used by singers. It can also result in a dip and rise in frequencies but has nothing to do with the lip. This can also be used on flute and sometimes I use it on sax as well.

Although I've never heard of tongue vibrato I'm guessing it's a similar principle where the flow of air is slightly interrupted in a pulsing manner?
Good point Wade. Sanborn has said that he often uses both jaw and diaphragm vib. I occasionally use it in ballads for a larger pulsating sound - but couldn’t use it on the flute as I’m terrible.
 
My first introduction to classical sax playing was a reel-to-reel tape my brother got from a masterclass/recital with Jean-Marie Londeix. I've no idea what happened to it but after I took up sax in 1972 he got me an lp of Rousseau playing the Villa-Lobos, Glazunov, Ibert and Dubois concertos. I've still got it and play it from time to time. It's excellent and a brilliant showcase for the chap's talents.
 
Another interesting read for the new reed player.

As a singer and brass player I have found my vibrato on sax to sound similar to my ear and it is not something I consciously have developed. In college (conservatory of music) we practiced straight tone on appropriate styles of music and the instrumental stuff developed out of that.
 
I can't remember if I did this poll before, I couldn't find it so here it is. Note it's only about jaw vibrato where you lower and raise your bottom jaw.

I was reading the Larry Teal book, and he appears to imply that jaw vibrato oscillates down from the pitch, back up above the pitch and down again, so that the "basic" or "average" pitch is somewhere in the middle of the waveform.

I suppose this would work well for a singer, but I'm sure most saxophone players oscillate down from the pitch then back up to it, rarely going above the starting pitch.

You would think that this would make the pitch of a vibrato note sound flat: if you play a note without vibrato, then add the vib halfway through, the average pitch of the oscilation would be lower, but I don't hear it as sounding flat, even players with a quite an exaggerated vibrato such as Earl Bostic.

This diagram is with the oscillations below the pitch:
vibrato-sine-1.webp


And with both below and above, so the "average pitch" is not flattened:
vibrato-sine-2.webp
 
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I’ve always been aligned with Teal in this regard. Mainly because of wanting to maintain a fully (always) open sound.

This, I state, having only thought about it. I haven’t sat down with a horn and listened for pitch, or recorded / analysed something already recorded on Logic - this would be easy as Flex would show the “wandering “ of the pitch.

I’ll look later!
 
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I've always considered it the average of both the low and high of the vibrato. It is fast enough that one doesn't notice the sharpness and flatness of it.

I suppose if one is diminishing the frequency of the vibrato to pure tone like towards the end of a phrase or cadence or transitioning to a background chord or slow countermelody, may want to gravitate toward the second series of being under the pitch to pitch for better effect, but never really gave it much thought.

I just do what sounds good.
 

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