Re: [Harp-L] Vibrato

"Rick Dempster" <rick.dempster@xxxxxxxxxxx> · Thu, 08 Mar 2007 12:32:20 +1100

Matt;
         Unfortunately I do not have access to Youtube through my
server;I would like to see Adam's videos. I agree that it is possible to
'shake' the diaphragm. I don't think it creates 'vibrato', however.
'Tremolo', yes.  I would like to be proved wrong! The differencebetween
tremplo & vibrato has already been detailed by myself and a few others.
You can't confuse one with the other. Using your hands is certainly
tremolo only, as it alters only volume/tone and not pitch.
Regards,
RD

>>> "Matt Smart" <matthewsmart@xxxxxxxxx> 8/03/2007 12:08:42 >>>
Adam Gussow demonstrates using a diaphragm tremolo/vibrato on his you
tube
videos.  I use it as well.  Mostly for blow notes and chords. 
However,
sometimes when I really want to rip, I will pull a very hard and fast
diaphagm vibrato or whatever you want to call it on it a single note. 
Often
times the 6 draw.  However, I find the most controlled vibrato to be
using
the throat muscles..larynx..or whatever you want to call it.

There are lots of vibrato effects.  I like to use them all. I think it
creates nice textures.

Moving the jaw.  This works especially well on blow bends.  I learned
this
watching Filisko and PT Gazell.

Shaking the harp.  I always thought this was stupid, but then I heard
a
local guy in Atlanta on record and loved his vibrato.  I met him and
all he
was doing was the shake the harp thing.

Using the tongue.  I learned this from Madcat.  Moving the tongue
while
bending and using the hands makes a really nasty sound.

Using the hands of course.

Using the diapgragm for deep, rough but nasty sounds.  Also works well
for a
soft vibrato effect on chords and octaves and blow notes.  If anyone
does
not believe it is possible email me and I will send you an audio.

These are just a few tricks I use.

On 3/7/07, Rick Dempster <rick.dempster@xxxxxxxxxxx> wrote:
>
> Been playing for 37 years Tony, and I never liked standing still. If
> there is such a thing as 'diaphragm' vibrato, I've never heard it or
> seen it. The hands can make what is probably better described as a
> tremolo, as can the tongue; these practices  produce a variation in
tone
> and/or volume (and when I say' tone', I am referring to bass &
treble
> variation, not 'pitch' - by which I mean fluctuations between
flatness
> and sharpness)
> A true 'vibrato' (rhythmic variations in pitch) is produced by the
> opening and closing of the vocal chords (read 'epiglotus' if you
want)
> I am no great shakes as a singer, but when a 'vibrato' occasionally
> appears in my voice, I think it is a variation on this process, but
> still caused by movement of the vocal chords: If my diaphragm is
> controlling the flow/pressure of air, my vocal chords can be relaxed
> enought to viabrate according to the frequency of the note to produce
a
> vibrato.
> With the harmonica it is a slightly different process: it is not the
> vocal chords themselves that are making the sound but the reed in
the
> harmonica. Hence the function of the vocal chords is not to flex and
> unflex to change their own pitch, but to act as a shutter to cause
> sudden build-ups of pressure followed by equally sudden
> release/decrease. Naturally, the diaphragm retains its importance in
> keeping a constant 'demand' for air (I could say 'pressure', but the
> pressure varies with the stopping of the epiglotus) but any
viabration
> felt there is a result of the 'glottal stops' (choking of the
epiglotus
> or vocal chords)
> This is all a re-phrasing of Tony's conclusions, which have been
well
> observed and considered.
> Reading over what I have just written, I realise that I have used
the
> word 'demand' (ie as opposed to 'supply' as in blowing) when talking
> about the role of the diaphragm in the production of vibrato.
> Hmmm...this opens up another matter all together: vibrato while
blowing,
> not drawing....does it exist?
> Obviously not, on holes 1-7, because there is no appreciable pitch
> variation available (ie the blow notes don't bend)
> I do attempt to use the glottal stops (hiccups, chuckles, coughs or
> whatever) on blow notes, but they act more like 'tremolo', and I am
not
> aware of ever really making the same process work on the blow-bend
notes
> (8,9,10)
> It just doesn't seem to be appropriate on the hight register notes.
I
> use a kind of harmonic trill, a la Gwen Foster, which gives a wide
> variation from one semitone to another,; but they are two separate
> notes, so it is not really 'vibrato' as such.
> I have not yet tried a blow vibrato on the lower two octaves of an
XB,
> but I intend to experiment as soon as I get away from this desk!
>
> Cheers,
> RD
>
> >>> Tony Renshaw <tonyrenshaw268@xxxxxxxxxxxxxxx> 3/03/2007 12:33:18
> >>>
> As a three year player who has heard lots about vibrato and the way
to
>
> create a deep, melodious one using my diaphragm, I would like to
> challenge
> explanations I have been given with my own conclusions, and wait to
get
>
> torn apart. Simply, it has been explained to me that the diaphragm
is
> the
> key to a deep vibrato. I believe this, but it has historically been
> described to me in isolation. I believe, for me anyway, that the
only
> way
> to get a good diaphragmatic vibrato is to use it to create a "back
> pressure", or area of "negative pressure", using your epiglotis. In
> isolation one can argue that it is all about the diaphragm, and to
> create
> such a "negative pressure", it is. The problem I have is that I can
use
> my
> diaphragm, that big muscle for prolonged periods, but generally only
in
> one
> direction or the other. I certainly can't "vibrato" it. To try and do
a
>
> deep, rhythmical vibrato from the diaphragm with a completely
relaxed
> throat and mouth is damn near impossible. I am persistent though, so
if
>
> enough people convince me of the error of my ways, I will conquer
this
>
> diaphragm issue, if in fact it is the way to go. So, in conclusion,
in
> my
> narrow and short experience, I believe the vibrato is a combination
of
> a
> "negative pressure" created with the epiglotis being somewhat
closed,
> or
> modulated, whilst the diaphragm creates the "negative pressure"
which
> pulses the air through the harp. At the same time, it is the
> interaction of
> the epiglotis and the base of the tongue that creates the bends, or
> partial
> bends which embellishes the vibrato and gives it it's classic aural
> signature. If in fact it does not involve the epiglotis, but does
have
> the
> characteristic bends, how can you do that with a fixed, relaxed
throat
>
> position, and have simply the airstream modulated in intensity
through
> the
> instrument, with the diaphragm?Surely this would pulse volume, but
not
>
> create the bends.
> OK, I'm ready for the heat.
> Reg
> Tony Renshaw
> Sydney Australia
>
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