why do YOU use vibrato?

[John Ed Kelly]

Danny writes: ''You can "Hide a World of Sins" with vibrato.''

Paul writes: ''Yes Danny, vibrato is like a 5 gallon overhaul,covers up lots of stuff.''

These are some quotes from the ''C6th tuning'' topic.

I go into the Clarinet Bulletin Board from time to time, as this is my major instrument. As they are mostly legit players, with a formal tuition background, the common sentiment seems to be that most eschew vibrato.

I have in turn, given my opinion of this issue (it IS an issue to most of the classical players) declaring vibrato to be an enhancer to the musical performance and in return I receive responses which don't really make much sense to me, because I then refer to the almost universal use of vibrato by classical string players. This seems to convince none of the ''non-vibrato'' adherents though, so we then agree to differ. The jazz clarinet players are much more sympathetic though, as you'd likely expect.

So, to my point. I figured that perhaps classical string players use vibrato to not only enhance the performance, but also use it as an aid to intonation. Not being a classical string player I have no experience of the degree of difficulty in remaining in tune on such instruments, but it strikes me as a logical and likely use of this particular musical technique.

Well..........I'm relatively new to SG, but I have found that intonation is just about the biggest hurdle for me and notwithstanding the presence of fret markers on the neck, is probably about as difficult to keep in tune as any violin, cello or double bass.

I wonder how many of you experienced players out there use vibrato just for tone colour or perhaps also use it as a convenient way of keeping in tune?

Danny and Paul are possibly putting a tongue in the proverbial cheek.........but maybe there's more...............

[Mike Neer]

Vibrato is the one thing that steel guitarists have over most other instruments. The very nature of the instrument lends itself to that mode of expression. However, there are many types of vibrato and some styles of music are not tolerant of a lot of vibrato, or fast vibrato. You've got to know your onions.

Vibrato is a key ingredient of the instrument, but it's also something that really needs to be worked on. I use it for all of the reasons.

[Earnest Bovine]

Vibrato width control the intensity of chorus effect between dry and delayed signal.

[Ron Whitfield]

I discovered Danny and Paul's truths early on, and relayed my new-found trick to my hardcore no-BS teacher, and he grudgingly agreed. But it's got to be rather perfect in it's coverup, or it's still crap.

[Dave Hopping]

Just like any other effect-if you can tell it's there,there's too much of it.

[Ron Whitfield]

Just like any other effect-if you can tell it's there,there's too much of it.

Vibrato IS meant to be heard, that's the point of using it, but in amounts that complement and in unison with the tunes tempo.

[Donny Hinson]

Just like any other effect-if you can tell it's there,there's too much of it.

I don't buy that for a minute. If you can't tell it's there, there's actually no point in doing it! I use fast and slow vibratos, small and big vibratos, and sometimes...none at all. A small amount adds color and emotion, but it also add tension when done fast. It's can be essential to finding the "tonal center" when playing with certain instruments (or players). Truly great players vary the speed to help sustain, and also to convey feeling and texture. Classical musicians spend many years learning precisely how and where to do it. In short, it's a valuable tool with many uses and sounds.

But, you only use it to cover tuning problems, it's like you're only using a screwdriver for opening paint cans...i.e., you're missing one of its primary functions.

[Mike Neer]

One of the things that turned me off to Jeff Newman in the beginning was that I was watching his video that came along with the Carter Starter and he said, "Watch the vibrato, you don't want it to sound Hawaiian!" I thought, what the...I think I do want it to sound Hawaiian, thank you very much, and I put the tape away and never watched it again.

[Brian McGaughey]

An interesting thing about vibrato to me, especially on the steel is that each player has a unique vibrato sound and style all their own, kinda like their fingerprint or DNA. For me personally, I either like it or dislike it right away.

No vibrato is better then bad vibrato, IMO.

[John Ed Kelly]

Then there's the ''long slide up to the correct note'' technique too, which can be utilised as expression and/or a get out of jail trick.

And also, I guess, is the ''slide past and back to the correct note'' trick which can be worked to advantage, that's if you happen to slide up too far the first time around. I have a couple friends, both trombone players, who would probably agree with me.

Even with my limited experience, I have found myself whilst practising, doing a slide up to the next note of a particular melody and doing it ''spot on'' the first time (say) and then, the next time missing it badly and trying to cover up the mistake, by faking the slide because I had forgotten which fret to stop at. It's obvious to me, but I wonder about any potential audience spotting the fakery.

Whilst I play the clarinet in front of an audience reasonably regularly, I'm very unsure about my SG proficiency. I guess I'd be able to spot a SG player faking it, so unless I conquer the intonation problem, I'll never drag the SG to the bandstand...............ah well.............never mind I'm having fun mucking about in the practice room.

[Billy Tonnesen]

Why do I use Vibrato ? Because my Hawaiian Teacher told me to. If you really want to see Vibrato, watch a Cello player ! Seriously, after years of playing, IMHO, you develope a feel for when to use or not use Vibrato.

[Mike Neer]

Stories?

[Blake Hawkins]

Jerry Byrd has a section on "tremolo" in his course.
He considers tremolo and vibrato to be the same thing.
He says: "Tremolo is an important part of your style, so don't pass over it lightly."

[Barry Blackwood]

It's a chick magnet.

[Joachim Kettner]

On a standard guitar it makes the note you play last longer, on the steel you have the volume pedal as an alternative, but it always sounds better if you ad a little of it.

[Glenn Uhler]

Playing a note or chord and holding it for more than a measure without vibrato is boring; to the player and the audience. Adding vibrato for the last beat of the measure (for example) makes the phrase more interesting for both parties.

The above requires that the speed and depth of the vibrato are appropriate for the song, otherwise it will sound like the player is either inexpreienced or nervous.

[John Ed Kelly]

Stories?......................I'm as mystified as you Mike........

I didn't even notice this part of the index until I went looking for post updates

JK

[John Ed Kelly]

Glenn writes: ''Playing a note or chord and holding it for more than a measure without vibrato is boring; to the player and the audience. ''

This is, more or less, what I have been intimating to the classical clarinet fraternity at the Clarinet Bulletin Board, for years. Classical music seems to be set in it's ways - like concrete maybe.

[Clete Ritta]

I dont use vibrato on steel as I do on guitar. I may sometimes use vibrato at the end of long sustained chords, or to add expression to single note playing. Generally I focus on bar position first, then add vibrato if it fits, but not to try and cover up a tuning issue. Harmonics just wouldnt have that chime sound with vibrato. It really depends on the desired sound as to when and why vibrato is used. For instance, some swing type playing sounds really cool with an exaggerated vibrato! I mostly use bending, sliding and volume as the main elements of expression more than vibrato. On guitar its much different to me though, as a good strong vibrato can be your signature.

For the Stories Section:
I guess a players use (or lack) of vibrato can be developed from a teachers instruction as well. Miles Davis never played with vibrato since he was taught very early on not to.

Clete

[Michael Douchette]

Stories?......................I'm as mystified as you Mike........

I didn't even notice this part of the index until I went looking for post updates

JK

I have NO idea why this is in "Stories." I didn't move it. I don't have THAT kinda power...

[Joey Ace]

I didn't move it either. Had to be b0b.

Back to the topic, I try to think like a vocalist, and add vibrato where it would sound good if the music was being sung.

I should add, "sung by a vocalist I like".
Some overuse / abuse vibrato.

I understand Mike's frustration with Jeff's Hawaiian comment. I have a lot of respect for Jeff, and the great influence he had on the Steel World, but he wasn't always "Mr. Tactful".

I recall feeling the same way when he said, "we all hate practicing scales". I don't, and encourage my students to embrace them.

[b0b]

I didn't do that. I'm not sure where it started, but I've moved it to Steel Players since it's not specific to pedal of non-pedal.

I was always struck by how little vibrato Jeff Newman used. He would practically nail the bar to the fret, as though he were defying anyone to question his tuning. Of course, he was always right on the money.

I tend to add a little shimmer for emotional effect and, yes, to cover slight tuning discrepencies. I don't like wide vibrato unless it's a deliberate effect like in Hawaiian music (Byrd), a crying country ballad (Hughey), or a big band jazz chord punch (Chalker).

[Clete Ritta]

Speedy West did so many cool things with the tonebar beside vibrato. He also garners mention for use of vibrato as expressively as his inventive use of bar crashes, hammers and boo wah tone control. Joey, I like your analogy of using singer-like vibrato, perfect description of a good way to use vibrato! Vibrato used on any instrument is meant as an expression like a singers voice, and everyone sings (and uses vibrato) differently, so in that sense, your vibrato really is your personal musical signature.

Clete

[Bud Angelotti]

I read an interesting article a few years back that addressed the use of vibrato in "cultured" music. The jist of it was, that vibrato was frowned upon unless used as an actual effect as dictated by the composer. People were taught to play smooth, with clean pitch,(violin, voice) and vibrato was an effect, much like todays reverb or delay. As I recall from the article, vibrato became popular with the advent of recording, to cover up mistakes and to compensate for the early recording technology. I'm talking early 20th century Folks heard vibrato on records/wax cylinder and thought that was the "proper" way to play. They could hear orchestras for the first time in their small towns by way of those early recordings. It apparently made quite a stir, as fuzz boxes and other effects did when they were introduced. Oh yeah, the big big name was Caruso, who was marketed as culture for the masses.[/b]

[Herb Steiner]

It's a chick magnet.

Yeah, but reverse polarity.