Teaching Methods for Correcting Probematic Vibrato
Adam Kirkpatrick
-Vibrato is difficult because it doesn’t exist in every day speaking
(maybe during heightened emotion i.e. ‘I have a dream’)
-One Theory: Vibrato is caused by the crico-thyroid muscle.
It becomes tense when elongating the cords.
Important to note about muscles in the body – when they are
tense, the tension is not continuous. It oscillates. Constantly flexing and releasing.
Creepy example: Getting shocked by an electric outlet. Your
muscles react to this by contracting and releasing in time with the electric
current. This happens on a small level every time a muscle in your body is
engaged.
Crico-thyroids and Thyro-arytenoids work in opposition of
each other. Muscle antagonism must exist for them to sustain a position which
sustains a pitch. They flex and release, oscillating the tension. One group of
muscles can’t become too rigid or overpowering or the balance between them is
lost.
Vibrato expresses itself naturally when there is the proper
balance of airflow and sublglottic pressure.
Thinking about airflow vs.sublgottic pressure:
Think about the same volume of air passing through a large opening
and then through a straw. (This opening represents the glottis.) The air
passing through the straw will have more force, velocity and pressure.
Excessive airflow in relation to sublottic pressure-à straight tone
Excessive subglottic pressure in relation to airflow-à wobble
Other causes of straight tone-
-high laryngeal position (Krikpatrick suggests that they ‘cry’
or ‘whine’ as they sing)
-sometimes just when a singer is running out of breath you
hear their natural vibrato come in. Something releases or lets go.
-He suggests you never say “sing with vibrato” , leads to a
fake one. Find out the problem or have them experiment with held notes so the
vibrato can emerge naturally
Faux vibrato-
Creating vibrato with pulses in the abdominal muscles.
Bleat-
Pressed tone and lots of airflow - lots of air with a lot of
resistance. Try experimenting with sighs.
Bottom line- vibrato is the result of balanced
phonation and breath support, it’s an indicator of good singing, not something
that should be manufactured or recreated.
It's interesting to know some more details about vibrato from an anatomical standpoint. I might be interested in reading this article.
ReplyDeleteI enjoy reading about vibrato. I think my least favorite thing about it is that everyone wants it without learning how to sing properly first. I hope people take singing healthily more seriously, so they can create a natural vibrato.
ReplyDeleteI think it's great to experiment with different exercises to find natural vibrato rather than just telling someone to sing with vibrato. Though like Melissa said it would be interesting to read more on the mechanics of vibrato.
ReplyDeleteI was just thinking about that on the last article that Melissa put up "Vibrato doesn't exist in everyday speaking." Just funny to compare it to the last article.
ReplyDeleteAnyway, I like that the article explains how vibrato is an indicator of "good" singing. It should come naturally and not forced or else it'll just sound like you're being shaken by a grown bear.
Shaken by a grown bear. Yes, Cole; that exactly. (But actually, kind of. Harsh and grating, and rather unnatural.)
ReplyDeleteI thought this article presented essentially the same information as the required readings for the class, though maybe in a little more detail. I'm a little concerned abou the focus on ends of phrases or "running out of breath" for vibrato to be introduced to tone; it seems like that would lead to a vibrato produced in one of the unhealthy production methods listed in the books, where vibrato is produced by an oscillation besides that of your vocal cords (the article gives the example of oscillation of the abdominal muscles).
The concept of vibrato is one that I find, at times, frustrating. Students are often encouraged, if not required, to 'sing with vibrato,' and as this article points out, it creates a fake vibrato. I have personal experience with this because I have been able to develop this sort of vibrato, and I know it is counterproductive. That being said, musicality is stressed so heavily (as it should) that, at times, a student finds they must sacrifice good technique to give their instructors the result they are looking for. A forced vibrato creates a lot of tension, and the irony is that a natural vibrato cannot take place until the unnatural vibrato is released and the muscles can come to an equilibrium.
ReplyDeleteWhile I agree that vibrato is desirable in various styles of music, I think there needs to be less focus on it in lessons and more on technique that will lead to a release of tension. As a result, the natural vibrato will be able to take its true form.
I think the best point of this article is encouraging a "natural vibrato". Ironically, encouraging a natural vibrato could very well be saying nothing about vibrato at all. Jessica has a great point that students try to create the sound that they think the teacher wants, and may ending up forcing a fake vibrato, which is much worse than just singing with the voices natural capabilities.
ReplyDeleteI enjoyed the specific quality of this article. Especially the ideas for creating a natural vibrato rather than a forced one. It can be hard to explain what you want to a student and I really liked what Alicia said about just not mentioning the creation for vibrato at all.
ReplyDeleteI've agree with Jessica, I've always been extremely frustrated with vibrato. Teachers have told me to "add vibrato," and I had no idea what I was supposed to do. .I'm glad this article warns against saying that.
ReplyDeleteI think it is key to encourage a natural vibrato. Focusing on that is going to give your student the best result with his or her own instrument. One of my huge pet peeves in the vocal world (and I'm sorry if this offends anyone) are 'created' voices. They sound mechanical and unnatural and have been forced through lessons to have a false sense of vibrato that isn't there naturally. You can't apply the same teachings and techniques to every student and expect the same results. Some people just won't have a very present vibrato and that is okay. There is no need to push someones voice where it won't go.
ReplyDelete