Vibrato or Nonvibrato in Solo and Choral Singing: Is There Room for Both?

Vibrato or Non-vibrato in Solo and Choral Singing: Is There Room for Both? by Virginia Sublett

Does singing in ensembles affects vocal technique, especially with regard to non-vibrato singing? One panelist said that as teachers, our primary motivation should be to give the students what is best for them. So a question was raised: Does singing without vibrato ruin the voice?

As we’ve read, “pleasing” vibrato consists of five to eight pulsations per second. Fewer than five are usually considered a “wobble,” and more than eight move toward what we would call a “tremolo.”

Things that affect vibrato rates:

·      Taste (more or less vibrato)

·      Type (style) of music

·      The singer’s level of excitement

·      Cultural factors

Although some believe that non-vibrato singing can be harmful, there doesn’t seem to be much research in support of this idea. Since there is a lack of research, we can only approach this subject from an anecdotal or preferential standpoint.

In choral music, the issue of volume/vibrato/intonation is important. Before the concert hall was invented, choral music was performed in churches, small court halls, or rooms in private houses. Because of the smaller spaces, the voices of singers were “lifted” with little effort on the performers part. The precise articulation, dissonance, and detailed effects in choral music required pure, clear voices to achieve these things.

Vibrato that is used currently in standard operatic literature was not always the norm, but as orchestras and concert halls grew larger, the styles of singing changed. Large post-Romantic orchestras and large opera houses demanded more volume and intensity form singers, which encouraged the continuous use of vibrato.

Ultimately, style matters!!!

As voice teachers, we should help students achieve the aesthetic their choral directors are asking for in ways that will not compromise their development as solo singers.

·      Beyond the university, most student won’t continue to become professional opera singers, but they may sing in choirs in their community or churches. (It best serves the interests of students to help them sing healthily with minimal vibrato, if that style is being asked for in an ensemble setting)

·      Singing with minimal vibrato does not tire the voice if done correctly.

o   Singing with excess tension does tire the voice

o   Students may respond to the request of “straight-tone” singing by tightening their jaw or muscles supporting the larynx

·      A less problematic instruction would be “sing with a pure, clear, focused tone that is right in the center of the pitch.”

·      Using different terminology can help eliminate problems

o    “Think pure and don’t push”

o   “Use a pure, spinning, well focused sound”

·      Tips for helping students maintain good vocal habits while singing in choir (with the goal of minimal vibrato tone in mind)

o   Adjusting vowel color (brighter vowels have less vibrato than dark)

o   Singing with less breath pressure

o   Smaller mouth position

Encourage students to explore all the different aspects of beauty in their voices. They don’t have to only use one. Stylistic versatility will lead to a more well-rounded singer.

Conclusion: The voice is a sturdy instrument that is capable of a greater range of sounds, timbres, and expressive devices than any other. There is a lack of research to validly discourage non-vibrato singing. The only argument against non-vibrato singing is aesthetic choice or issues of style. It would best serve the student if they are taught to efficiently switch between styles.