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Practising Vibrato

trimmy said:
I know we all have our own tastes but his sound does nothing for me, same as Hodges (i know) too much vibrato for me
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I find it interesting though that he uses vibrato conventionally a lot, aside from the tremolo-type thing that he does. So obviously not a 'flawed' technique but a choice of effect. When he's playing without vibrato, or with his conventional vibrato it's a really clear sound for the time, especially as West Coast and Bossa Nova were about. I just find it interesting as I'd heard his name a lot but not much of his playing and the clip reminded me. Probably won't buy any of his albums though, like you.
 
I spent some time appreciating Bostic's skill. I posted this months ago in a different thread, but if you haven't seen it:


Benny Golson:
"I recall being at Minton's Playhouse in Harlem around 1950 when Earl Bostic came to town and sat in. Coltrane was with me and we heard Bostic play in any key, any tempo, playing almost an octave above the range of the alto saxophone. We talked with him and he told us how each brand of saxophone should sound. He said, 'On the Martin you finger it this way, the Buescher is that way, and like so on the Selmer.'"


John Coltrane:
"I went with Earl Bostic, who I consider a very gifted musician. He showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick."


James Moody:
"He knows this instrument inside out, back to front, and upside down."


Art Blakey:
"If Coltrane played with Bostic, I know he learned a lot. Nobody knew more about the saxophone than Bostic. I mean technically, and that includes Bird [Charlie Parker]. Bostic could take any make of saxophone and tell you its faults and its best points. Working with Earl Bostic is like attending a university of the saxophone."
 
6441 said:
I spent some time appreciating Bostic's skill. I posted this months ago in a different thread, but if you haven't seen it:


Benny Golson:
"I recall being at Minton's Playhouse in Harlem around 1950 when Earl Bostic came to town and sat in. Coltrane was with me and we heard Bostic play in any key, any tempo, playing almost an octave above the range of the alto saxophone. We talked with him and he told us how each brand of saxophone should sound. He said, 'On the Martin you finger it this way, the Buescher is that way, and like so on the Selmer.'"


John Coltrane:
"I went with Earl Bostic, who I consider a very gifted musician. He showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick."


James Moody:
"He knows this instrument inside out, back to front, and upside down."


Art Blakey:
"If Coltrane played with Bostic, I know he learned a lot. Nobody knew more about the saxophone than Bostic. I mean technically, and that includes Bird [Charlie Parker]. Bostic could take any make of saxophone and tell you its faults and its best points. Working with Earl Bostic is like attending a university of the saxophone."
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Yep, I don’t disagree.
 
I never did, but I had an excellent live teacher to model myself off of when I learned vibrato. Maybe you could try playing along with ballads that have slow vibrato to start
 
6441 said:
Apparently, this is a name either local or given by Eric. I just learned something interesting about Artistworks. The site content is viewed by Google, but you have to login to see the video.
You can see the title regardless.
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Pete Effamy said:
Corrrr, talk about over complicating. Terminal vibrato - it's just choosing to add vibrato at the end of a note, l
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I agree, it's just vibtrato. "Lip turn" is confusing and makes little sense given that:

  • It isn't a turn
  • The term lip trill does exist but it is a brass (trumpet/trombone) thing mostly where it can be used for an excessive "shake" that does actually sound like a trill (or a tremolo). So theoretically lip turn could also be done on a trumpet but not on a saxophone. And if it was done on a trumpet it would be a turn, not a vibrato.
 
rhysonsax said:
Does anyone use software to help them train or assess their vibrato ?
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I've been using the tonal energy app on ipad for a few months for tuning and metronome functions as well as tone exercises. I just started yesterday to do the basic (slow/wide) vibrato training. It seems to be perfectly suited to this exercise - I'm basically trying to draw the best sine wave I can on the analysis screen.
 
Mark Hancock said:
I've been using the tonal energy app on ipad for a few months for tuning and metronome functions as well as tone exercises. I just started yesterday to do the basic (slow/wide) vibrato training. It seems to be perfectly suited to this exercise - I'm basically trying to draw the best sine wave I can on the analysis screen.
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For people who haven't seen TonalEnergy Tuner, here is Dan Forshaw using it with his tenor for long tones with and without vibrato (but note that he has set the App to concert pitch):


Rhys
 
rhysonsax said:
For people who haven't seen TonalEnergy Tuner, here is Dan Forshaw using it with his tenor for long tones with and without vibrato (but note that he has set the App to concert pitch):


Rhys
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He's got the sensitivity set to "medium". For vibrato it's better to use "fine".

Another interesting thing to do with the analysis tool, is to use it to analyse instructional you tube videos of pro players doing vibrato and long tones. It gives you a pretty objective indicator of what to aim for.
 
Pete Effamy said:
Joe Temperley - now that's a new name for me.
These guys use a lot. Compare it with someone like Paul Desmond who blows a pure note, then has a relatively wide via right at the end of the longer notes.
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Here's one of an interesting series of videos of Joe Temperley and I've started the clip where he begins talking about vibrato.


I think he has a gorgeous sound, but much more representative of the 40s than what is presently fashionable. I would love to be able to sound like that.

Rhys
 
rhysonsax said:
Here's one of an interesting series of videos of Joe Temperley and I've started the clip where he begins talking about vibrato.


I think he has a gorgeous sound, but much more representative of the 40s than what is presently fashionable. I would love to be able to sound like that.

Rhys
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Very nice. I love the baritone as a solo voice, it’s an incredible instrument. I agree with his big statements.
 

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