[Artemisia] period music

[Linda Yordy]

Ahh, the vibrato debate is never ending ;-)

Most experts argue that the vibrato that we use today is a phenomena  
of the 20th century.  Vibrato was used, up through the Romantic  
period, as an ornament that was applied sparingly.  It was added only  
to longer notes, usually a half note in length or longer.  It could  
be used at the the top of a phrase, on a long sustained note (often  
starting with a slow vibrato that accelerated), or on notes (1/2 note  
or longer) that you want to add emotional emphasis.

You can find an early treatise on chant (Jerome of Moravia, 13th c.  
Paris) that suggests vibrato can be used on long notes and that there  
are various types of vibrato (slow, accelerating, 1/2 tone, whole  
tone).  Even into the Baroque and Classical eras, you can fine  
treatises on the use of vibrato as an ornament with very similar  
suggestions to what Jerome was saying in the 13th century.

Another modern scholar (Christopher Reynolds) argues that vibrato of  
the 16th century may have been used similarly to today.  He states  
that organs of the 15th century began adding a tremolo mechanism  
which would create the continuous vibrato.  He also points out the  
use of the 'Voce umana' label on the organ stop which means  
undulating tone.  His argument is that if they were using vibrato  
like this on the organ, why not replicate it with instruments and  
voices?  He also argues choir singers  who had sung full-voiced for  
30 to 50 years, reached their mature years, would have "unfocused  
voices."  He claims, "In these circumstances vibrato was not so much  
an expressive liberty as an occupational hazard."   (Funny!)

I think you'll find Reynolds in the minority.  Timothy McGee (who is  
a top guru of period performance) and Howard Mayer (another huge guru  
who unfortunately is passed away) both suggest that vibrato be used  
as an ornament on longer notes and as emotional emphasis.  You can  
find many period sources to support this type of use (Ganassi, Diego  
as Braden mentioned); also Maffei who also adds that vibrato should  
only be used for solo performance and never in an ensemble.

Here's a way you might try it out:  Learn your song without vibrato  
at first.  (I found this very scary the first time I played a piece  
with no vibrato, but it really helped me get past the surface of the  
piece.)  Once you've delved into the song, figured out its nuances  
and emotional phrases, then look for only 1-2 notes per phrase that  
you could add vibrato.  Make sure they are longer notes.  Look for  
notes at the high point of the phrase -- this could be the highest  
note or the note with the most important word or most emotional point  
in the phrase.  Live with it for awhile.  You may find that it's  
enough vibrato.  You might find you want to add a few more notes with  
vibrato.  You might also instead, ornament by adding a trill or a few  
passing tones.

Hope that helps.  Sorry to be so long winded.  You hit on one of my  
passions ;-)  If you want a list of resources, just let me know.

Muirren

On Feb 4, 2010, at 5:53 PM, Bradley Wolf wrote:

> According to Ganassi & Diego, vibrato is a type of ornamentation.   
> So, just
> like you would put a turn or trill on a phrase, so might you  
> ornament with
> vibrato.
>
> i.e. don't spread it all over like gravy.
>
> -Braden  (who may know something about music)
>
> Is natural vibrato correct for a late period song?  Esther