SAXOPHONE VIBRATO James Barrera - Professor of Saxophone

Bob Cole Conservatory of Music California State University, Long Beach

Many student saxophonists find the use of vibrato to be the most mysterious of techniques. According to

saxophone lore, Adolph Sax did not intend for the saxophone to use vibrato, instead envisioning a more

clarinet-like approach to tone. It is generally accepted that Marcel Mule was among the first to use vibrato on

the saxophone, and that he got the idea by imitating Jazz saxophonists. Vibrato should be thought of as an

ornament to the tone, meaning something that is added to the tone, not something that changes it. Saxophone

vibrato is a “true” vibrato which changes the pitch of the note, not a Tremolo (as used in diaphragm vibrato)

which only varies the volume of the tone. The word “core of sound” is often thrown around when discussing a

classical saxophone vibrato. If you listen to a well formed, resonant saxophone tone you will hear within it a

center or core of tone. The vibrato should not disturb this core. The traditional approach to saxophone vibrato

tells us that the vibrato should be an ever constant part of the sound, transitioning from note to note without

disruption, and maintaining a constant speed and amplitude regardless of dynamic, or range. A more modern

view of vibrato is one that changes depending on the situation. Many contemporary composers such as Berio,

Stockhausen, Lauba, or Noda are explicit on their desire for straight tone, and often will dictate which notes

they want vibrato to be used on, and the speed and amplitude of that vibrato. Therefore as saxophonists in the

21st century we must be masters of all styles of vibrato. The following exercises are designed to facilitate this

mastery.

PREPERATORY NOTES

• Mastery of vibrato requires flexablity. Exercises such as the “Front F tick” found in the Sinta/Dabney

book, “Voicing” are highly reccomended.

• The embouchure must be relaxed. If the muscles of the face are too tense it will be difficult to achieve the

desired amount of pitch bend. Tension in the chin muscles will prevent the jaw from moving freely.

• Air speed must remain high throughout the vibrato exercise.

• While the primary method of changing the pitch is a slight movement of the jaw, the role of the tongue

should not be ignored.

• Think about the movement of the jaw while chewing gum, or lightly bite your finger to determine the

proper amount of pressure.

• Try using different syllables: VU-VU-VU YA-YA-YA EE-YO-EE-YO (good for slower speeds)

• Always be on a closed cycle of the vibrato when changing notes, this will ensure a smooth transition.

• Listen to the center, or “core” of the tone. This should not change; the vibrato should move around the

center of the tone. Be carefel that the vibrato does not make the tone flat.

• Just as we must have a tone concept, we must have a vibrato concept. Listen to singers, saxophonists,

flutists, string players, and any other instrument that uses vibrato to develop your vibrato concept.

• Familarize yourself with vibrato of different styles and eras. Can you play with Coleman Hawkins’ vibrato,

Marcel Mules’s vibrato, or the Guy Lombardo sax section’s vibrato?

2

3 1

4

“Half” a vibrato

1

&

2

&

3

&

4

&

One vibrato

1 2 3 4 & & & &

Two vibratos

1 2 3 4

Five vibratos

2 3 4 5 2 3 4 5 2 3 4 5 2 3 4 5

Vibrato should be practiced slowly and rhythmicly before adding it to music. The following exercise can be

practied on any note, but those of the upper register will be easier. Set your metronome to 60, and start on an

“A” above the staff. If 5 pulses at 60 is difficult to count, try 4 at 75.

Next we need to connect vibrato from note to note. Simply practice any scale in half notes using 2, 3, 4, and 5

vibratos per pulse at 60.

Finally incorperate the vibrato in a simple melody. Practice again, with 2,3,4, and 5 vibratos per pulse at 60, or

2,3, and 4 vibratos at 75.