Have you ever considered that different idioms, styles, ensembles, and passages (even within the same piece of music) might necessitate changing the approach to vibrato usage? Could utilizing a one-size-fits-all approach to vibrato have a limited impact on music-making?
During this session, we will explore vibrato usage in a variety of settings and ensembles. Highlights include:
– Looking at some vibrato approaches used by renowned classical trumpeters in solo and chamber music settings.
– When and where the “commercial sizzle” might be employed in the orchestra.
– General vibrato trends of principal and section players in the orchestra.
– Vibrato in big band jazz. Specifically, observing some tendencies of vibrato usage in early jazz, Count Basie’s Orchestra, Duke Ellington’s Orchestra, and modern-day groups such as the Maria Schneider Jazz Orchestra.
– Jazz soloists varied approaches to vibrato.
– Vibrato in baroque era music? Should we, or shouldn’t we?
– Commercial vs. symphonic vibrato. When and where to switch the approach?
The goal – help trumpeters choose a vibrato that is informed and comfortable to who they are, while also being stylistically and era-appropriate.
I hope to see you there!
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