I was reading somewhere (?) that in Itrad music, flute vibrato was seldom used, and that if it was it was derived from tapping one of the holes below the note in play. Is this generally true? If so, is it not actually tremolo because it would be the actual pitch that would be oscillating as opposed to the intensity as in Boehm style vibrato?
What do you do for D&E when you run out of tone holes below the note in play, would you switch to a chest pulsing type of vibrato?
One more thing I’m figuring out is that when I do lay some vibrato on a note, it feels more natural to match a higher pitched note with a higher speed of vibrato. That is what I end up doing because it feels right unless I have some special intent in mind.
I guess I can throw in one more question. :roll: If I try a certain way, I can get my diaphragm muscles to shudder (shiver?) in such a pronounced way as to create a very rapid and intense vibrato for a limited time. Is this what they call Nanny goating, and is it something that would perhaps better be avoided, or is it just some weird effect? I’ve heard Shakuhachi players doing something that sounds similar.
Anyhow, feel free to address any or all of the above. I’m new to flutes and this forum has been a valuable resource, so thankyou all. [/quote]
I’ve been told by famous teachers who charged too much to be
ignored that tapping is the way for ITM and that I should
work to eliminate vibrato from my breath, which
I’m doing. You can vibrato the low E by tapping on part of the
low D hole. I simply don’t use vibrato on the low D. Tapping faster
or slower on high notes is entirely up to you.
One can go faster or slower or vary the speed
of tapping during playing one note.
Generally my information is that it’s a good idea
to work to get an even tone breath wise, at least
to work to minimize breath vibrato. Best
I both finger tap the vibrato and use the diaphragm.
There. I’ve said it.
I’ve heard recordings of older playing where a breath vibrato was used, so I allow myself that license. I use both sparingly, though, and avoid a classical sound like the plague. Whether I tap or breathe a vibrato depends on the effect I want, and I try for subtlety in it.
I also prefer a slower, relaxed vibrato; the rapid style sounds highly over-caffeinated and on edge to my ears.
I am pretty sure (having heard this question and its many answers over the time) that finger tapping
(vibrato - which is what it is called in ITM, but in classical music it would be tremolo. “But we’re not on my world, are we?” --Buzz)
comes from pipe playing. If you have ever played pipes, you will note that it is pretty impossible to do a diaphragm vibrato on pipes Like many things that have come from pipes, (ex crans, and I am sure cuts, taps, rolls and various other ornamentation not truly achievable on fiddle) this has been adopted for use on whistle and flute. After all, the fingering style is similar. (as well as the fingering system…) So I don’t think it is wrong to do either, but as far as authentic… well!
It could go either way…
Sounds like you know how to diaphragm vibrato, so maybe it is time to practise finger tapping?
I primarily use finger vibrato (coming from the Uilleann pipes) on the flute, but will revert to my orchestral flute diaphragm-based vibrato when playing airs. I think they have very different sounds and emotional qualities.
Sam Murray has a wondrful, rich diaphragm vibrato. Why in the world would anybody not want one? Isn’t it just another tool to be used in the playing of the flute? It can be overused, but I hardly would say out-of-hand that it isn’t appropriate for ITM.
Just listen to Harry Bradley fer Christs’ sake.
This makes sense. I don’t suppose there’s anything
much the matter with diagphragm vibrato in ITM
if you can control it and use it when you choose.
Lots of people can’t do that, me for instance,
and I’ve worked hard to eliminate it.
As mentioned the best and most famous teachers
I’ve gone to (as well as the less famous ones)
told me to use finger tapping alone.
Maybe they would have told me different
if I could play the flute (though in all
honesty I suspect they wouldn’t have). Meanwhile I think
it’s a good idea, if you’re beginning flute,
to work for an even tone and use tapping
for vibrato, FWIW.
I’m another of those “Boehm” flute guys/gals coming to ITM. I am hard pressed to distinguish between finger and diaphragmatic on most recordings. A slow finger tapping I can tell easily but some smoother vibrato styles send me into “I don’t know” land. I had a rough time stopping the ALMOST constant vibrato when I switched to woodenflute. I have managed to turn it off unless I want it during some special effect tune. I’ve only been at this ITM about two years and certainly should not be considered an expert. BUT, when I play for me or for my family, a bit of diaphragm vibrato slips in. Guess when I relax and just play it happens. And I will use it when it feels right.
Thanks for the input. I think I’m going to make an effort not to develop the constant vibrato habit. I think that as a beginner, vibrato can mask a poor tone. I’m saying that because when I try to hold a good smooth tone for as long as I can, I can hear a lot of imperfections that vibrato covers up. If I was pressed to choose one method or the other, however, I would say that I prefer the finger drumming style because I dig that pulsing sound you can get. I can’t really say whether it sounds “authentic” because I don’t know much about ITM. I’m not even sure how I ended up getting into any of this. Where did all these whistles I have come from anyway? I don’t remember buying that many.
Like many things that have come from pipes, (ex crans, and I am sure cuts, taps, rolls and various other ornamentation not truly achievable on fiddle) this has been adopted for use on whistle and flute. After all, the fingering style is similar. (as well as the fingering system…) So I don’t think it is wrong to do either, but as far as authentic… well!