Re: Re: Re: Re: Re: Re: Re: Vibrato


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Posted by Richard on August 28, 2000 at 19:49:50:

In Reply to: Re: Re: Re: Re: Re: Re: Vibrato posted by Rick Denney on August 27, 2000 at 17:47:20:

Mr. Jacobs would often employ a molto espressivo approach (lotsa vibrato) when playing exposed before a group, that he would agree would be inappropriate in the orchestra. As a student and a young player, he found he could really impress conductors this way at those personal auditions that don't take place anymore. It sure worked for him, but these are different times, and players today need to take a different approach, because you have to get through a committee of brass and other orchestra players before the conductor ever hears you.

In general, Mr. Jacobs encouraged vibrato as a developmental tactic to make his students play as expressively as they could, like singers, string, or woodwind artists.

In an earlier posting in this string, I told of how he suggested that using a hand vibrato on the tuba acted as a "timing device" for the nervous system. In my next practice, I paid some attention to "how" I did vibrato. I not using my hand a a timing device anymore. Without getting too analytical. It seems to be in the blowing, from my mouth, but most importantly, as Jake always stressed, conceptualize in the brain, and stay out of your body's way. It seems to work.


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