Vibrato is interesting. I hear A LOT of recorderplayers using their throat to "make" vibrato. I believe because there is a lack of diaphragma control. Love your openness: there is no right or wrong. But people need to learn from those who knows more. LIke you. Thank you for sharing your knowledge.
I was told it is a tension problem, and it often produces a parallel hum rather than an actual vibrato. I have a lot of problems with my neck (turning causes pain, lots of creaking), and I have this undesirable "accompaniment" sneak in. As soon as I become aware of it (hear it), I can correct it.
I love it how Sarah always acknowledges that not everyone's aiming for performance--that if you play for pleasure at home alone, don't worry about "historicity" or "authenticity", just make a good sound you're happy with and enjoy it! I did play in public once, last summer, as part of a community theatre thing in my village. It was great and I loved it, but it wasn't a concert and I just love taking a piece of music, reading it, trying it out, practising and memorising it, and then finding how to express it i(interpret it) in a way that seems right to me. I so adore Sarah for her profound understanding of the fundamental reason why we have music, whether it's Mozart or the guy next door plonking away happily on his slightly out of tune piano while the family join in for a sing-song. 💖🏳⚧⚧
Wow, lots I never knew. Up till now I believed early music also barock were supposed to be played without any vibrato. And then... how could we ever be sure of such ? Interesting. Playing the Irish D flute, I was so surprised, Nial Keegan advised me in slow airs not to use finger vibrato, but rather gutheral style, something that I thought to be a lack of technique. Never too old to learn ...
Other kinds of vibrato are possible, amongst them: (1) Phase shift. This is known as the Doppler Effect. The so-called “Leslie” of a Hammond organ (much-loved by Blues musicians) creates a phase shift in the sound by means of a rotating drum speaker system. The result is a vibrato on each side of the note, rising in pitch as the speaker travels towards the listener, and dropping in pitch as it travels away from the listener. Note that the effect is not the result of an actual change in the frequency of the source. It is simply the case that each consecutive disturbance has a longer or shorter distance to travel before reaching the listener and thus occurs more or less frequently for that observer. On a non-amplified recorder such phase shifts could only be achieved by gross movement of the player and their instrument with respect to the audience, perhaps by seating the player on a swing or roundabout. (2) Timbral vibrato might be offered by the manipulation of tonal colour possible with innovative instruments such as Michael Barker’s “MIDIfied recorder”, Cesar Villavicencio’s “Bird Cage”, Philippe Bolton’s electro-acoustic recorder, or Mollenhauer’s "Elody" recorder. See "Tremolo and Vibrato" at recorderhomepage.net/technique/tremolo-and-vibrato/
I love your exploration of your vocal vibrato! Beautiful! Singers usually keep diaphragmatic pressure even and produce vibrato in the larynx, although sometimes pressure fluctuation creeps in. Love your curly hair, btw!
It never ceases to amaze me how one can do different ornaments that even though I'm no means a beginner Sarah has opened my understanding of what the recorder is capable of Thank you so much for your teaching
Very useful video. Makes you think about expression. My Basque txistu is a type of tabor pipe. Yes; there's a hole on the bottom, but it's not a recorder. There are only three holes, and the "bell" hole, which can be covered partially to obtain a fully chromatic scale. It is, however, an overtone flute; you blow overtones to create your scale in whichever key. This makes diaphragm vibrato, which I like on txistus, very risky; if you push too hard, your note may easily break into the next highest region, potentially ruining your performance. Not surprisingly, therefore, flattement is the most popular form of vibrato amongst txistularis. There are only three holes to choose from. The limitation is addressed by flattementing the bell hole where appropriate. I have seen labium vibrato and manipulation used by expert Basque players. Most appropriate for a one-handed instrument, though the other hand usually plays a drum. I haven't tried labium vibrato myself. Here goes, I guess!
Bonjour , madame Sarah, comme je suis votre fan depuis environ 2 ans, et vous êtes une professeur exceptionnelle pour une explication claire et riche d'information, voulez vous activez le mode transcription, je doit interpréter en français, parce-que mon anglais et faible, et merci 🙏
May I add one? If we sing a note that is not exactly in tune with the recorder, both sounds will create interference. In the worst case it will sound like a rapid bubbly tone. But if we can keep tuning discrepancy minimal, it sounds like vibrato or tremolo.
I have heard the tongue vibrato as being done by moving the back of the tongue, not flapping the front of the tongue. Walter Van Hauwe's Modern Recorder Player describes it as the same tongue movement as when saying Yo Yo Yo.
Slight correction about the Marais, from a gamba player: Although I’m sure some flattement markings are just for learning materials, Marais is just extremely specific with his markings, in all of his works! Even the extremely difficult ones. Those various vertical & horizontal squiggles, “e” meaning enflé, the comma, and more (plus signs, mordents, etc) are what Marais used; their meanings weren’t assigned by the editor :)
Ah, I didn’t explain myself properly! I meant the editor of this edition gave instructions for how to interpret the written ornaments on a *wind* instrument- the first as finger vibrato, the second as breath vibrato etc. As on a gamba they would be different, and to come close to the effect. Thank you for commenting though, I love these discussions! ❤️
So you had me practising vibrato for over half an hour yesterday evening, and reading Quantz' adagio chapter afterwards. I guess that's my kind of social life 😅
Thank you! I love your introduction to various types of vibratos. As someone who loves flutes/recorder and experimenting with this magnificent instrument, I love to learn something new from masters :-) P.S. I love your level of positivity! :D
hello sahra, can you make a video about 3 hole pipes and tabor? found some vid´s, but they were not really....i don´t know...informative and/or professional. 🙃
Me gustó mucho el video: práctico y didáctico. Pero sobre todo sencillo. 👏👏👏 ¡Y NO ENTIENDO EL INGLES!. (Una pena que no haya traductor simultáneo al español). Pero es tan visual el video, que lo llego a entender lo básico. Y gracias también a todos los comentarios: esos sí que se traducen 😉
I've seen a kaval player use the shake vibrato too - it seems like he uses it on notes where a flattement-style vibrato isn't possible, like Hotteterre suggests for the recorder, though potentially also to blend with other instruments? So yeah, probably one of those cross-cultural folk/early music techniques that's been around since forever. It's interesting you talk about how fuzzy the line is between vibrato and tremolo. Maybe at a certain point it's more useful to think of them in terms of their musical effect, rather than the more 'clinical' definitions.
I am playing Persian music imitating the Santour. Lots of tremolo is used normally. What wld be the best technique to get an authentic sound on the recorder?
Glottal stopping. I think that's the vocal term you're looking for when using your throat. When I'm explaining it to little kids I ask them to imagine an old lady in a church choir with a wide, machine gun vibrato. Inevitably, to imitate one, they will go to their throat and move their hand on it.
Interesting. Years ago (like 36 years ago) in recorder class our music teacher was a flute player. He told us that tremolo was done with the throat. Not the throat tremolo you demonstrated, but a rhythmic variation in the volume of the throat and soft pallet at the back of the mouth. The sound is very similar, almost identical to the diaphragm tremolo. It does NOT stress the vocal chords or epiglottis. I find this kind of throat tremolo easier than diaphragm tremolo, but the diaphragm tremolo has more feeling as long as I am (indeed) feeling the music. Have you heard of this technique, or am I something of a freak?
@allanjmcpherson It's okay. It just kind of resonates with me as it always seemed the diaphragm isn't actually fast enough by itself to oscillate for the vibrato people claim coming solely from the diaphragm and that more elsewhere in the body is working together in tandem. I always gave it up to the possibility I'm just not there yet though 🙂. I'll look around for the topic.
@@Team_Recorder of course! I think more people should trust in her/his inner voice an sing. alone and with other. Music connects and breaks the walls in our hearts 💕 When I play on sessions with other people it fills me with joy and I love it.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
![$69 vs $50,000 flute [PLAY & Compare]](/img/n.gif)
Vibrato is interesting. I hear A LOT of recorderplayers using their throat to "make" vibrato. I believe because there is a lack of diaphragma control. Love your openness: there is no right or wrong. But people need to learn from those who knows more. LIke you. Thank you for sharing your knowledge.
I was told it is a tension problem, and it often produces a parallel hum rather than an actual vibrato. I have a lot of problems with my neck (turning causes pain, lots of creaking), and I have this undesirable "accompaniment" sneak in. As soon as I become aware of it (hear it), I can correct it.
I love it how Sarah always acknowledges that not everyone's aiming for performance--that if you play for pleasure at home alone, don't worry about "historicity" or "authenticity", just make a good sound you're happy with and enjoy it! I did play in public once, last summer, as part of a community theatre thing in my village. It was great and I loved it, but it wasn't a concert and I just love taking a piece of music, reading it, trying it out, practising and memorising it, and then finding how to express it i(interpret it) in a way that seems right to me. I so adore Sarah for her profound understanding of the fundamental reason why we have music, whether it's Mozart or the guy next door plonking away happily on his slightly out of tune piano while the family join in for a sing-song. 💖🏳⚧⚧
Wow, lots I never knew. Up till now I believed early music also barock were supposed to be played without any vibrato. And then... how could we ever be sure of such ? Interesting. Playing the Irish D flute, I was so surprised, Nial Keegan advised me in slow airs not to use finger vibrato, but rather gutheral style, something that I thought to be a lack of technique. Never too old to learn ...
I love using vibrato - especially when I play my diatonic harmonicas with feeling, phrasing, note-bending and lots and lots of vibrato. 😊🎶
Hey Hey. Love the new hairstyle it really looks nice 🙂
Other kinds of vibrato are possible, amongst them:
(1) Phase shift. This is known as the Doppler Effect. The so-called “Leslie” of a Hammond organ (much-loved by Blues musicians) creates a phase shift in the sound by means of a rotating drum speaker system. The result is a vibrato on each side of the note, rising in pitch as the speaker travels towards the listener, and dropping in pitch as it travels away from the listener. Note that the effect is not the result of an actual change in the frequency of the source. It is simply the case that each consecutive disturbance has a longer or shorter distance to travel before reaching the listener and thus occurs more or less frequently for that observer. On a non-amplified recorder such phase shifts could only be achieved by gross movement of the player and their instrument with respect to the audience, perhaps by seating the player on a swing or roundabout.
(2) Timbral vibrato might be offered by the manipulation of tonal colour possible with innovative instruments such as Michael Barker’s “MIDIfied recorder”, Cesar Villavicencio’s “Bird Cage”, Philippe Bolton’s electro-acoustic recorder, or Mollenhauer’s "Elody" recorder.
See "Tremolo and Vibrato" at recorderhomepage.net/technique/tremolo-and-vibrato/
I love your exploration of your vocal vibrato! Beautiful! Singers usually keep diaphragmatic pressure even and produce vibrato in the larynx, although sometimes pressure fluctuation creeps in.
Love your curly hair, btw!
That’s so useful about the singing vibrato, thank you!
Thank you very much. I am a beginner. This gives me more understanding of the possibilities of ornamentation.
It never ceases to amaze me how one
can do different ornaments that even
though I'm no means a beginner Sarah
has opened my understanding of what
the recorder is capable of Thank you so
much for your teaching
Thank you for all your magnificent presentations
We all benefit
Take care
Thank you, Sarah. I just watched a super creepy video essay and this is the perfect antidote. Please, tell me about using vibrato on the recorder!
Your videos are always so interesting and informative. Thank you.
I like the way you talk and explain.🎉🎉❤
Because speaking like this takes practice.😊
Have been following your videos since COVID-19...all cool
One can always tell how much passion and effort you put into your videos... and this one is absolutely interesting! Great job as always!!! 😊
great demonstration of the various sounds, thank you for making this.
the tongue vibrato can be slow too, producing a vibrato similar to the diaphragma vibrato!
Very useful video. Makes you think about expression. My Basque txistu is a type of tabor pipe. Yes; there's a hole on the bottom, but it's not a recorder. There are only three holes, and the "bell" hole, which can be covered partially to obtain a fully chromatic scale. It is, however, an overtone flute; you blow overtones to create your scale in whichever key. This makes diaphragm vibrato, which I like on txistus, very risky; if you push too hard, your note may easily break into the next highest region, potentially ruining your performance. Not surprisingly, therefore, flattement is the most popular form of vibrato amongst txistularis. There are only three holes to choose from. The limitation is addressed by flattementing the bell hole where appropriate. I have seen labium vibrato and manipulation used by expert Basque players. Most appropriate for a one-handed instrument, though the other hand usually plays a drum. I haven't tried labium vibrato myself. Here goes, I guess!
Bonjour , madame Sarah, comme je suis votre fan depuis environ 2 ans, et vous êtes une professeur exceptionnelle pour une explication claire et riche d'information, voulez vous activez le mode transcription, je doit interpréter en français, parce-que mon anglais et faible, et merci 🙏
May I add one? If we sing a note that is not exactly in tune with the recorder, both sounds will create interference. In the worst case it will sound like a rapid bubbly tone. But if we can keep tuning discrepancy minimal, it sounds like vibrato or tremolo.
Ooh I love this, interference vibrato
I have heard the tongue vibrato as being done by moving the back of the tongue, not flapping the front of the tongue. Walter Van Hauwe's Modern Recorder Player describes it as the same tongue movement as when saying Yo Yo Yo.
Thank you. This has been a very useful lesson.
From Indonesian always watch your update video. But not all video. ❤❤❤
Slight correction about the Marais, from a gamba player: Although I’m sure some flattement markings are just for learning materials, Marais is just extremely specific with his markings, in all of his works! Even the extremely difficult ones. Those various vertical & horizontal squiggles, “e” meaning enflé, the comma, and more (plus signs, mordents, etc) are what Marais used; their meanings weren’t assigned by the editor :)
Ah, I didn’t explain myself properly! I meant the editor of this edition gave instructions for how to interpret the written ornaments on a *wind* instrument- the first as finger vibrato, the second as breath vibrato etc. As on a gamba they would be different, and to come close to the effect. Thank you for commenting though, I love these discussions! ❤️
@@Team_Recorder I see, thank you!
So you had me practising vibrato for over half an hour yesterday evening, and reading Quantz' adagio chapter afterwards. I guess that's my kind of social life 😅
Thank you! I love your introduction to various types of vibratos. As someone who loves flutes/recorder and experimenting with this magnificent instrument, I love to learn something new from masters :-) P.S. I love your level of positivity! :D
Love the videos
Q: what notes would you be limited to playing when doing the labium technique on a tenor instrument?
When in doubt leave it out‼️
🤔😆
I know I shouldn't say, but love the hair! Video interesting as always
hello sahra, can you make a video about 3 hole pipes and tabor? found some vid´s, but they were not really....i don´t know...informative and/or professional. 🙃
Me gustó mucho el video: práctico y didáctico. Pero sobre todo sencillo. 👏👏👏
¡Y NO ENTIENDO EL INGLES!. (Una pena que no haya traductor simultáneo al español). Pero es tan visual el video, que lo llego a entender lo básico.
Y gracias también a todos los comentarios: esos sí que se traducen 😉
Enjoy your videos and my say you are truly adorable and quite an artisan at that
oh, one of the few things that could delay recorder practice, a new sarah jeffery video.
Ahhh hiiii
I've seen a kaval player use the shake vibrato too - it seems like he uses it on notes where a flattement-style vibrato isn't possible, like Hotteterre suggests for the recorder, though potentially also to blend with other instruments? So yeah, probably one of those cross-cultural folk/early music techniques that's been around since forever.
It's interesting you talk about how fuzzy the line is between vibrato and tremolo. Maybe at a certain point it's more useful to think of them in terms of their musical effect, rather than the more 'clinical' definitions.
I love your last point- absolutely!
Hey, Sarah! At 11:43, that sounded like the opening to Glenn Miller's "In The Mood." Tell me I'm right!
I am playing Persian music imitating the Santour. Lots of tremolo is used normally. What wld be the best technique to get an authentic sound on the recorder?
Glottal stopping. I think that's the vocal term you're looking for when using your throat. When I'm explaining it to little kids I ask them to imagine an old lady in a church choir with a wide, machine gun vibrato. Inevitably, to imitate one, they will go to their throat and move their hand on it.
Can you make a composers guide for writing for the recorder? Are these styles of vibrato notated differently ?
th-cam.com/video/2sarXSCDDlg/w-d-xo.htmlsi=jthc9A6AMPFZ1WcW Here you go!
@@Team_Recorder thanks so much
nerdy indeed!
Interesting. Years ago (like 36 years ago) in recorder class our music teacher was a flute player. He told us that tremolo was done with the throat. Not the throat tremolo you demonstrated, but a rhythmic variation in the volume of the throat and soft pallet at the back of the mouth. The sound is very similar, almost identical to the diaphragm tremolo. It does NOT stress the vocal chords or epiglottis.
I find this kind of throat tremolo easier than diaphragm tremolo, but the diaphragm tremolo has more feeling as long as I am (indeed) feeling the music.
Have you heard of this technique, or am I something of a freak?
Not at all! Research has shown quite conclusively that the so-called diaphragm vibrato is actually produced by the vocal folds.
@allanjmcpherson Could you share where I can learn more about that? Thanks!
@@kenzieprice6745 unfortunately I don't recall where I read this, and everything I've been able to find on the topic is behind paywalls.
@allanjmcpherson It's okay. It just kind of resonates with me as it always seemed the diaphragm isn't actually fast enough by itself to oscillate for the vibrato people claim coming solely from the diaphragm and that more elsewhere in the body is working together in tandem. I always gave it up to the possibility I'm just not there yet though 🙂. I'll look around for the topic.
The poster of recorder name in different languages catches my eyes ! You know how to read them all? :D :D
Ooh, you can get it in my webshop here 😎 team-recorder.myshopify.com/products/poster
On a different subject, How's the Team Recorder Orchestra coming along?
Slowly but surely, this amount of editing is a fun learning curve 😄
🤗🤗
flutter tonguing? Pretty common for flute players.
Sarah, i have a question: do you also sing or is the recorder your preferred voice?
I sing too but I’m not trained as a singer, just as a recorder player!
@@Team_Recorder of course! I think more people should trust in her/his inner voice an sing. alone and with other. Music connects and breaks the walls in our hearts 💕
When I play on sessions with other people it fills me with joy and I love it.
@@Team_Recorder you sing well!
But wait! What happens when you use multiple vibratos at once??? Like diaphragm, tongue, and finger?
I feel like I only use breath vibrago, nothing else
Dear Sarah, an (famous?) example of using 'throat vibrato' in singing: th-cam.com/video/nLLxlSwBQcE/w-d-xo.html
so on a modern flute in order to approximate a baroque flattemens you could just shake the flute? Ah!
For the lowest note at least 😄
You've earned my like for playing the Titanic theme.
There's one more type of vibrato - knee vibrato. Very dangerous, do not recommend.
You are becoming more beautiful with each passing video.
the incessant passage of time 💖
Early!
So wigglyWoo a woo a woo mmm ok
shake the recorder? I'm more likely to just knock my front teeth out!
Baboon on a clavicord?