vibrato

Although many of the vibratos described above may seem quite extreme, sonograms have revealed that the basic acoustic quality of the voice is altered surprisingly little.

The most amusing of the glottal vibratos are the goat vibrato and the horse vibrato.

Controlling parts of the vocal mechanism other than the larynx and the epiglottis also can produce vibratos. The tongue is a powerful filter of vocal harmonics.

In that case the 3/4-ounce Vibrato produced more bites than the #9 Rap.

Often with the Vibrato, the key is to hold your rod tip at 10-o'clock, then pump or pull the hire ever-so-slightly so it vibrates no more than two to five times before stopping and letting it shimmy back toward bottom.

Few topics in voice pedagogy provoke stronger debates between singing voice teachers and choral ensemble directors than the health and aesthetics of singing with and without vibrato. In order to foster a better understanding of voice production in both modes of performance, a short summary of scientific research regarding vibrato and nonvibrato singing is provided below, followed by a review of recent articles on vibrato in the Journal of Singing.

Vibrato is a periodic oscillation of the fundamental frequency (perceived as pitch) and all its harmonics, amplitude (perceived as apparent intensity or volume), timbre (a result of harmonics sweeping through vowel formants), subglottic pressure, closed quotient (the percentage of each vibration cycle the vocal folds are in contact), and formant frequencies.

When describing how vibrato may be adjusted for performing different musical styles, the terms vibrato rate and vibrato extent are often used.

One of the challenges of teaching vibrato is developing a vocabulary that addresses with specificity the complexity of circumstances present during vibrant singing.

Mason and Zemlin revealed through electromyographic analysis that vibrato is caused by the cricothyroid muscle.

This same principal applies to vibrato in the voice.

I offer here the introduction to The Vibrato, Volume 1 of a series titled Studies in the Psychology of Music, published in 1932.

Seashore's studies helped me understand some confusing statements by respected pedagogues from the past concerning the vibrato and its use in our profession.

At the end of the unit on vibrato in the voice pedagogy class, the professor requests volunteers from the class to participate in an informal experiment.

A variety of definitions by researchers has contributed to the description of vibrato. Lebon viewed vibrato as a characteristic of a tone quality that adds vibrancy and richness, suggesting that vibrato that calls attention to itself or is obtrusive becomes a negative attribute.