Chords for Producing Vibrato on the Trumpet
Tempo:
112.35 bpm
Chords used:
Fm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Before we begin talking about how to produce vibrato on the trumpet,
we need to remember that our tone quality is much more important than vibrato.
In other words, using vibrato is not going to cover up poor tone.
So to develop that tone quality, we need to have a proper sound concept in our mind's ear.
We develop that sound concept by educating our ears and listening to lots of professional recordings.
We can also develop our tone by daily practicing our fundamentals.
Long tones, scales, all those types of exercises that will help improve our tone quality.
Now using vibrato is a very special skill and we only want to use it at specific times.
If we use it all the time, it's sort of like using salt on all your food.
We only want to use salt on certain foods to enhance specific flavors.
And that's exactly what we're going to do with vibrato.
Now if you're playing in band or orchestra and you're playing with the whole section all in unison,
you do not want to use vibrato because you will stick out and be difficult to blend with.
But if you have a solo and instead of playing louder to be heard, you just use a little bit of vibrato,
you will stick out of the texture without having to strain your tone at all.
So that's one area that we want to use vibrato is whenever we have a solo in a large ensemble setting.
Now if you're playing a solo with piano or an unaccompanied solo, you can use vibrato as much as you'd like.
I encourage you to use it periodically throughout the solo in order to highlight certain aspects of the solo.
Now there are three different methods of vibrato that we can use on the trumpet.
The first is hand vibrato and we will set the hand on the trumpet just with good normal hand position
and just rock the hand back and forth slightly.
[N] Notice that my trumpet is not shaking up and down.
I'm just moving it very, very slightly and you can hear the vibrato in the sound.
Now the second type of vibrato is air vibrato or diaphragm vibrato.
This is commonly used with flute players.
This isn't my preferred method so it's a little bit difficult for me,
but I'm going to vary the air speed to produce that vibrato effect.
[Fm]
I know that's not as good as the first way just because it's a little bit more difficult for me
and I think more difficult for brass players just in general.
The last way is lip or jaw vibrato where we move our lips kind of saying,
oowee oowee oowee oowee or moving our jaw up and down slightly.
These are very, very slight movements.
If you do a lot, it's going to have a big wave in the sound which sticks out too much.
So here is lip or jaw vibrato.
oowee oowee oowee oowee
So I encourage you to practice this mainly on long tones first and then you can work it into some of your musical phrases.
Now be careful as you're practicing that you don't use too much vibrato.
That's very, very wavy, right?
Or to use really fast vibrato.
Sounds really, really nervous, doesn't it?
So you just have to practice with whichever method you want to use and then control that.
Sometimes we do want faster vibrato.
Sometimes we want slower vibrato.
So practice all of those different speeds as long as they're appropriate to the music you're playing.
And that should enhance and bring out the flavor of your musicality.
we need to remember that our tone quality is much more important than vibrato.
In other words, using vibrato is not going to cover up poor tone.
So to develop that tone quality, we need to have a proper sound concept in our mind's ear.
We develop that sound concept by educating our ears and listening to lots of professional recordings.
We can also develop our tone by daily practicing our fundamentals.
Long tones, scales, all those types of exercises that will help improve our tone quality.
Now using vibrato is a very special skill and we only want to use it at specific times.
If we use it all the time, it's sort of like using salt on all your food.
We only want to use salt on certain foods to enhance specific flavors.
And that's exactly what we're going to do with vibrato.
Now if you're playing in band or orchestra and you're playing with the whole section all in unison,
you do not want to use vibrato because you will stick out and be difficult to blend with.
But if you have a solo and instead of playing louder to be heard, you just use a little bit of vibrato,
you will stick out of the texture without having to strain your tone at all.
So that's one area that we want to use vibrato is whenever we have a solo in a large ensemble setting.
Now if you're playing a solo with piano or an unaccompanied solo, you can use vibrato as much as you'd like.
I encourage you to use it periodically throughout the solo in order to highlight certain aspects of the solo.
Now there are three different methods of vibrato that we can use on the trumpet.
The first is hand vibrato and we will set the hand on the trumpet just with good normal hand position
and just rock the hand back and forth slightly.
[N] Notice that my trumpet is not shaking up and down.
I'm just moving it very, very slightly and you can hear the vibrato in the sound.
Now the second type of vibrato is air vibrato or diaphragm vibrato.
This is commonly used with flute players.
This isn't my preferred method so it's a little bit difficult for me,
but I'm going to vary the air speed to produce that vibrato effect.
[Fm]
I know that's not as good as the first way just because it's a little bit more difficult for me
and I think more difficult for brass players just in general.
The last way is lip or jaw vibrato where we move our lips kind of saying,
oowee oowee oowee oowee or moving our jaw up and down slightly.
These are very, very slight movements.
If you do a lot, it's going to have a big wave in the sound which sticks out too much.
So here is lip or jaw vibrato.
oowee oowee oowee oowee
So I encourage you to practice this mainly on long tones first and then you can work it into some of your musical phrases.
Now be careful as you're practicing that you don't use too much vibrato.
That's very, very wavy, right?
Or to use really fast vibrato.
Sounds really, really nervous, doesn't it?
So you just have to practice with whichever method you want to use and then control that.
Sometimes we do want faster vibrato.
Sometimes we want slower vibrato.
So practice all of those different speeds as long as they're appropriate to the music you're playing.
And that should enhance and bring out the flavor of your musicality.
Key:
Fm
Fm
Fm
Fm
Fm
Fm
Fm
Fm
_ _ _ _ _ _ _ _
_ _ _ _ Before we begin talking about how to produce vibrato on the trumpet,
we need to remember that our tone quality is much more important than vibrato.
In other words, using vibrato is not going to cover up poor tone.
So to develop that tone quality, we need to have a proper sound concept in our mind's ear.
We develop that sound concept by educating our ears and listening to lots of professional recordings.
We can also develop our tone by daily practicing our fundamentals.
Long tones, scales, all those types of exercises that will help improve our tone quality.
_ Now using vibrato is a very special skill and we only want to use it at specific times.
If we use it all the time, it's sort of like using salt on all your food.
We _ only want to use salt on certain foods to enhance specific flavors.
And that's exactly what we're going to do with vibrato.
Now if you're playing in band or orchestra and you're playing with the whole section all in unison, _
you do not want to use vibrato because you will stick out and be difficult to blend with.
But if you have a solo and instead of playing louder to be heard, you just use a little bit of vibrato,
you will stick out of the texture without having to strain your tone at all.
So that's one area that we want to use vibrato is whenever we have a solo in a large ensemble setting.
Now if you're playing a solo with piano or an unaccompanied solo, you can use vibrato as much as you'd like.
I encourage you to use it periodically throughout the solo in order to highlight certain aspects of the solo.
Now there are three different methods of vibrato that we can use on the trumpet.
The first is hand vibrato and we will set the hand on the trumpet just with good normal hand position
and just rock the hand back and forth slightly. _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ Notice that my trumpet is not shaking up and down.
I'm just moving it very, very slightly and you can hear the vibrato in the sound.
_ Now the second type of vibrato is air vibrato or diaphragm vibrato.
This is commonly used with flute players.
This isn't my preferred method so it's a little bit difficult for me,
but I'm going to vary the air speed to produce that vibrato effect. _ _ _
_ [Fm] _ _ _ _ _ _ _
_ _ _ _ I know that's not as good as the first way just because it's a little bit more difficult for me
and I think more difficult for brass players just in general.
The last way is lip or jaw vibrato where we move our lips kind of saying,
oowee oowee oowee oowee or moving our jaw up and down slightly.
These are very, very slight movements.
If you do a lot, it's going to have a big wave in the sound which sticks out too much.
So here is lip or jaw vibrato.
_ _ _ _ _ _ _ _
_ oowee oowee oowee _ oowee
So I encourage you to practice this mainly on long tones first and then you can work it into some of your musical phrases.
Now be careful as you're practicing that you don't use too much vibrato. _ _ _ _ _
_ _ _ _ _ _ _
That's very, very wavy, right?
_ Or to use really fast vibrato. _ _ _ _
_ _ Sounds really, really nervous, doesn't it?
So you just have to practice with whichever method you want to use and then control that.
Sometimes we do want faster vibrato.
Sometimes we want slower vibrato.
So practice all of those different speeds as long as they're appropriate to the music you're playing.
And that should enhance and bring out the flavor of your musicality. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Before we begin talking about how to produce vibrato on the trumpet,
we need to remember that our tone quality is much more important than vibrato.
In other words, using vibrato is not going to cover up poor tone.
So to develop that tone quality, we need to have a proper sound concept in our mind's ear.
We develop that sound concept by educating our ears and listening to lots of professional recordings.
We can also develop our tone by daily practicing our fundamentals.
Long tones, scales, all those types of exercises that will help improve our tone quality.
_ Now using vibrato is a very special skill and we only want to use it at specific times.
If we use it all the time, it's sort of like using salt on all your food.
We _ only want to use salt on certain foods to enhance specific flavors.
And that's exactly what we're going to do with vibrato.
Now if you're playing in band or orchestra and you're playing with the whole section all in unison, _
you do not want to use vibrato because you will stick out and be difficult to blend with.
But if you have a solo and instead of playing louder to be heard, you just use a little bit of vibrato,
you will stick out of the texture without having to strain your tone at all.
So that's one area that we want to use vibrato is whenever we have a solo in a large ensemble setting.
Now if you're playing a solo with piano or an unaccompanied solo, you can use vibrato as much as you'd like.
I encourage you to use it periodically throughout the solo in order to highlight certain aspects of the solo.
Now there are three different methods of vibrato that we can use on the trumpet.
The first is hand vibrato and we will set the hand on the trumpet just with good normal hand position
and just rock the hand back and forth slightly. _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ Notice that my trumpet is not shaking up and down.
I'm just moving it very, very slightly and you can hear the vibrato in the sound.
_ Now the second type of vibrato is air vibrato or diaphragm vibrato.
This is commonly used with flute players.
This isn't my preferred method so it's a little bit difficult for me,
but I'm going to vary the air speed to produce that vibrato effect. _ _ _
_ [Fm] _ _ _ _ _ _ _
_ _ _ _ I know that's not as good as the first way just because it's a little bit more difficult for me
and I think more difficult for brass players just in general.
The last way is lip or jaw vibrato where we move our lips kind of saying,
oowee oowee oowee oowee or moving our jaw up and down slightly.
These are very, very slight movements.
If you do a lot, it's going to have a big wave in the sound which sticks out too much.
So here is lip or jaw vibrato.
_ _ _ _ _ _ _ _
_ oowee oowee oowee _ oowee
So I encourage you to practice this mainly on long tones first and then you can work it into some of your musical phrases.
Now be careful as you're practicing that you don't use too much vibrato. _ _ _ _ _
_ _ _ _ _ _ _
That's very, very wavy, right?
_ Or to use really fast vibrato. _ _ _ _
_ _ Sounds really, really nervous, doesn't it?
So you just have to practice with whichever method you want to use and then control that.
Sometimes we do want faster vibrato.
Sometimes we want slower vibrato.
So practice all of those different speeds as long as they're appropriate to the music you're playing.
And that should enhance and bring out the flavor of your musicality. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _