The “Holy Grail”: Vibrato
At one time or another, we have ALL heard it said...
“It’s your vibrato! It’s not enough”. “It’s too ‘wide’” or “It doesn’t ‘sing’!”
...resulting in the following “sincere” comment:
“Thank you, everyone, for auditioning. You were all great, and it is with much difficulty that we have made
our final choice... Thank you all for coming...”
Really, is there a “secret door” we need to look for to find the “perfect” vibrato? Is is in imitating our favorite performer or teacher? Is it in attending one Conservatory over another? Does it have anything to do with
the physical shape of one’s hand, fingers; vocal chords or breath control? Lastly, is the use of vibrato appropriate when “perfecting” scales?
I have often wondered if vibrato was a defining factor in the person playing last chair, 2nd Violin versus the choice of Concertmaster; when both parties attended the same Conservatory. Did having an “A-list” teacher versus
a “B-list” teacher play a role?
The Oxford Dictionary defines vibrato as the following:
“Undulation of pitch of note, produced in string instruments via controlled vibration of player’s fingers stopping the string and in wind instruments by breath control.”
In my perspective, vibrato must be interpreted as a subjective language - defined by one’s ability to adapt to the playing style of the desired position applied for.
Therefore, the next audition, after thoroughly investigating the musical style - as one does when applying for any position - I will remember the adage “When in Rome, do as the Romans do”. Or better yet, I will be the “Honorable One”, who pontificates by stating,
“...Thank you all for coming..." "NEXT!"
033R15221077 Stadt, Köstlergasse, Otto Wagnerhaus, Stiegenhaus, Aufzugtüre" by TARS631. Licensed under Attribution via Wikimedia Commons.
