[Artemisia] period music

[rayzentz at aim.com]

I can't claim much knowledge of period vibrato use, because it has never been something I have spent much time researching, so I yield to others whose knowledge of useage is better. However, even in the 20th century, there are differences in vibrato and when and how it is used. Different musical styles utilize vibrato in different ways.  Barbershop style, for instance uses no vibrato at all. This is vital, because the tight harmony, and the resulting overtones, would not be possible if the singers used vibrato. Most vocal jazz uses vibrato in the same way Master Braden describes, as an ornament, largely at the end or high points of phrases. Opera, on the other hand, makes great use of vibrato, and most often the wider variety (1/2 tone to whole tone). There are reasons for this in additiona to stylistic preference, mainly having to do with vocal health and endurance.

Personally, I teach students versatility... the ability to use vibrato when and where they choose. Many singers today are trained only one way, and cannot move from style to style effectively. As far as I am concerned, that is a severe limit for a vocalist.

I suspect, as has been illustrated already, that there were those in period who had their preferences regarding vibrato, as there are today, and this was reflected in their writing and teaching. Furthermore, there were also likely regional differences in how vibrato was used in period, as there are today. 

The research, and debate, will probably never end, or be fully resolved. At least until we can send Orwell's Time Traveller back to record actual singing for us.

Padruig


Dr. Raymond Zentz
 
It is better to die a free man, than to live, a slave.



-----Original Message-----
From: Linda Yordy <lyordy at cableone.net>
To: Kingdom of Artemisia mailing list <artemisia at lists.gallowglass.org>
Sent: Fri, Feb 5, 2010 9:23 am
Subject: Re: [Artemisia] period music


Ahh, the vibrato debate is never ending ;-)
Most experts argue that the vibrato that we use today is a phenomena  
f the 20th century.  Vibrato was used, up through the Romantic  
eriod, as an ornament that was applied sparingly.  It was added only  
o longer notes, usually a half note in length or longer.  It could  
e used at the the top of a phrase, on a long sustained note (often  
tarting with a slow vibrato that accelerated), or on notes (1/2 note  
r longer) that you want to add emotional emphasis.
You can find an early treatise on chant (Jerome of Moravia, 13th c.  
aris) that suggests vibrato can be used on long notes and that there  
re various types of vibrato (slow, accelerating, 1/2 tone, whole  
one).  Even into the Baroque and Classical eras, you can fine  
reatises on the use of vibrato as an ornament with very similar  
uggestions to what Jerome was saying in the 13th century.
Another modern scholar (Christopher Reynolds) argues that vibrato of  
he 16th century may have been used similarly to today.  He states  
hat organs of the 15th century began adding a tremolo mechanism  
hich would create the continuous vibrato.  He also points out the  
se of the 'Voce umana' label on the organ stop which means  
ndulating tone.  His argument is that if they were using vibrato  
ike this on the organ, why not replicate it with instruments and  
oices?  He also argues choir singers  who had sung full-voiced for  
0 to 50 years, reached their mature years, would have "unfocused  
oices."  He claims, "In these circumstances vibrato was not so much  
n expressive liberty as an occupational hazard."   (Funny!)
I think you'll find Reynolds in the minority.  Timothy McGee (who is  
 top guru of period performance) and Howard Mayer (another huge guru  
ho unfortunately is passed away) both suggest that vibrato be used  
s an ornament on longer notes and as emotional emphasis.  You can  
ind many period sources to support this type of use (Ganassi, Diego  
s Braden mentioned); also Maffei who also adds that vibrato should  
nly be used for solo performance and never in an ensemble.
Here's a way you might try it out:  Learn your song without vibrato  
t first.  (I found this very scary the first time I played a piece  
ith no vibrato, but it really helped me get past the surface of the  
iece.)  Once you've delved into the song, figured out its nuances  
nd emotional phrases, then look for only 1-2 notes per phrase that  
ou could add vibrato.  Make sure they are longer notes.  Look for  
otes at the high point of the phrase -- this could be the highest  
ote or the note with the most important word or most emotional point  
n the phrase.  Live with it for awhile.  You may find that it's  
nough vibrato.  You might find you want to add a few more notes with  
ibrato.  You might also instead, ornament by adding a trill or a few  
assing tones.
Hope that helps.  Sorry to be so long winded.  You hit on one of my  
assions ;-)  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
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