STAGE ONE

Play a few long notes without any fluctuation in pitch. Use the abdominal muscles as in sighing. If any
involuntary, unwanted vibrato is already being produced, try to eliminate it or see the Problem Box at the
end of this section. When your tone is straight, play a low G, holding the flute only with the left hand. Place
your right hand on your abdomen and push and relax your right hand alternately rhythmically to achieve an
increase and decrease in air speed. Start at about two or three wobbles per second. It is similar to silently
saying 'ha, ha, ha, ha'. See the diagram below.

When this is working, try to achieve the same result with the abdominal muscles only, holding the flute with
both hands. The movement of the air must be continuous, not a series of jerks. The movement in pitch, too,
must go above and below the straight note. Do not at this stage assist the vibrato in any way with the throat,
lips, arms, or shoulders. Keep still. Persevere with this exercise until it can be done with ease. This may take
a few days or a few minutes; do not proceed until you can do this easily. Now play the scale of G, pulsing
eight times on each note. Choose a tempo which suits you then try after a time to increase to J=90. Don't let
the width of the vibrato get narrower in the middle and upper registers.

J= c. 60-90
0 'j 0

0 Q Q
0
'j

'j 0 it
0
II

Often the vibrato stops as the note changes. Try to overcome this. Now repeat with six pulses on each note .

.J = c. so

z &l!i o It 0 't 0

etc.

Two or three separate ten-minute sessions on these exercises per day will soon prod
. . . . . uce resu1ts. Don't go
on until the previous exercise becomes easy. Time, patience and intelligent work N d .
. slurs: three wobbles per crotchet (or quarter-note).
speed, addmg • ow gra ua 11y increase the

138
 ~ =60

3 4»2 g'.1 If
etc.
Be patient: some may find it more difficult than others. Next, find some tunes (hymn tunes are ideal) in
which there are no dotted notes, relatively fast-moving notes, or large leaps, for example:

~=60

4
<a> i 2r I fr d IH
~ E ~ ✓
F F IF F H I f F f
---. ,,.___ ✓
r Ir F U~ ~
I
' Ld r✓ L Irn f r I('r r I
Count four pulses (or even six if played very slowly) on each note. Practise several times each day.
Now for a tune with small leaps. Keep the vibrato moving during the quavers (or eighth-notes) :

)=60

(b) '1h:11:J If----------r -F

I 14 ? J =II

,~
1
'11= .J J IJ qJJi,J J I J 11J J '-._;,/
=II

Don't stop the vibrato between notes. Here is another:

PRAISE TO THE HOLIEST IN THE HEIGHT

Adapted from T. HAWEIS, 1734-1820, by S. WEBBE
,,.--._
r--~ .....,
r IF f r If' F 1r c F If
I
f - IJ
&f'r r 1fF r 1r7: r 1r r J""'r r O - r I I 1
I°· II
It is a little more difficult to produce the vibrato in the upper register; practise this one carefully. Keep the
vibrato going during the shorter notes:

LET US, WITH A GLADSOME MIND

Melody from Hymn tunes of the United Brethren, 1824

(d) ,2r r r riftfrE 1

Efff rrr 1

&fl r---Err 1f [ A 1f ff t E 1E t E II
139
 ses would be about three weeks ; some
The minim um time to have spent on the above and previo us exerci
will find a longer time is necess ary.

STAGE TWO
Stage One to Stage Two involves trying to
Vibrat o should not be mecha nical and calcul ated. To progre ss from
It is a comm on proble m at this point to choose
help th e vibrat o be part of the tone and not somet hing added to it.
the speed of the notes to suit the speed of the vibrato. In other words you will find your fingers movin g after
as a result.
every fourth or sixth wobbl e even if the piece is slightly unrhy thmic

How to overcome this:

ng the pulses of vibrato and slur on to the next
Play one of the tunes in this way: play the first note withou t counti
play throug h the tune using much vibrato but
note unpred ictably . Some will find this easy, others may not. Then
chang ing notes witho ut referen ce to the pulses of vibrato.

the piece, if you happe n to use four or six,

Play throug h your tunes using five pulses to each beat, and during
well, it doesn 't matter , does it?

of the rhythm of the notes so that - like forte

The whole idea of these two ways is to allow the vibrato to be free
up bag, to be used in the service of music
and piano - it can becom e anothe r cosme tic in your musical make-
makin g.

are causin g the larynx or throat to pulse in

At this stage you may have observ ed that the abdom inal muscles
sort of tension. Just let it happe n. Slowly the
sympa thy. This is fine, but don't assist this throat movement by any
at this point will result in what in the 18th
larynx will take over a large part of the work. Any forcing of the throat
for your old age!
centur y was called chevrotement or a bleatin g goat vibrato. Save that

STAGE THREE
movin g all the time:
(a) Play this exercise. Use vibrato through each note. Keep the vibrato

,~1 ;1J Jr r cf fr rr J; h of f cr ctr If f Erm)

I I 1

&~cfarrrf € ~ (ir :rt fft fW r 1 1 1 11

length s, but not fast tunes. Be sure the

(b) Choos e other tunes with dotted notes, and variou s other note
le:
vibrat o is ever presen t, partic ularly on the long notes. For examp

GOD THAT MADEST EARTH AND HEAVEN

Tradit ional Welsh

,1 r r r f 1~ f r r 1
~ ,--... g....--...._ ~

&~ nf )r r 1(1r r 1r
0

F" DI

r· DI
0

II
1.40