Teaching Saxophone

MUE 351
Vibrato

The use of vibrato by saxophonists, while remarkably varied, is a pervasive feature in both
concert and jazz/commercial playing. As a first principal, it is important to remember that
vibrato is a decoration of the tone. As such, it is critical that the vibrato not be used as
camouflage for an inferior tone quality or poor intonation.

Therefore, as a pre-requisite to beginning the study and practice of vibrato a saxophonist

must:

1) Be able to produce a consistent tone quality from low “Bb” to high “F” or “F#” at
varying dynamic levels.
2) Demonstrate a knowledge of all aspects of tuning and good intonation, including
a) The ability to recognize sharpness and flatness,
b) The ability to correctly adjust her/his pitch,
c) An understanding of the pitch tendencies of his/her instrument

The first step in the study of vibrato should begin with attentive listening in the style of
music the vibrato is to be employed. To establish a good vibrato concept for concert
saxophone playing I strongly recommend the student listen to recordings of violinists,
‘cellists, flutists, oboists, and bassoonists performing concert repertoire. I have found that
saxophonists will learn more about the character of vibrato in concert music by listening to
a collection of non-saxophonists than by listening to other saxophonists. A short list of
recommended artists includes:

Violin ‘Cello Flute Oboe Bassoon

Joshua Bell Jacqueline Du Pre William Bennett Nicholas Daniel Valeri Popov
Nadja Salerno-Sonnenberg Lynn Harrell Emmanuel Pahud Francois Leleux Klaus Thunemann
Midori Yo-Yo Ma Jean-Pierre Rampal John De Lancie Robert Wagner
Itzhak Perlman James Galway Heinz Holliger Dag Jensen
Ruggiero Ricci Robert Bloom Judith LeClair

Once a student has begun to form a conceptual foundation through directed listening you
may begin with the mechanics.

The most effective vibrato on the saxophone produces a discernable pitch change. Such a
pitch change is most readily achieved via an up and down motion of the jaw. This up
and down motion results in a fluctuation in pitch and a slight fluctuation in volume.
Teaching Saxophone - Vibrato (continued)

Attentive listening to the recorded examples will demonstrate that a rhythmically even,
curve-linear, sounding vibrato is the desired result.

The desired effect may be represented by Diagram A below.

Diagram A

Oscillation above the pitch

Steady tone center (into the reed)
pitch center

Oscillation below the

pitch center (away from
the reed)

A. The student will:

1) Form the saxophone embouchure
2) Place her/his thumb, thumbnail down, in her/his mouth.
3) Place his/her top teeth on his/her thumb pad and bottom lip on his/her thumb
nail
4) Gently move the jaw up and down in a rhythmic fashion

The correct execution of the above exercise will produce the desired jaw motion for vibrato
production on the saxophone.

B. The student will:

1) Put the saxophone mouthpiece in his/her mouth.
2) Sustain an “A” above the staff
3) Gently move the jaw up and down in a rhythmic fashion.

The jaw should move in a smooth, continuous fashion. An irregular, erratic, jaw
movement will produce an undesirable effect that may be represented by Diagram B
below.

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Teaching Saxophone - Vibrato (continued)

Diagram B

Steady tone
pitch center

Abrupt changes of
direction in jaw movement

Once the correct vibrato mechanics are established, in order to develop a useful vibrato
technique the student should practice the following two exercises.

1) Steady tone vs. vibrato tone

The goal is to maintain a uniform pitch center throughout the exercise.
- The student will perform any major arpeggio or scale with each note
lasting four counts with a metronome beating quarter notes at
approximately 60 beats per minute
- During counts one and two the student will play without vibrato
- During counts three and four the student will play with a measured
vibrato in eighth notes (See Diagram C below)

Diagram C – Steady tone vs vibrato tone

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Teaching Saxophone - Vibrato (continued)

2) Continuous vibrato tone

The goal is to maintain a uniform vibrato from one note to the next.
- The student will perform any major arpeggio or scale with each note
lasting two counts with a metronome beating quarter notes at
approximately 60 beats per minute.
- Throughout each note the student will play a measured vibrato in eighth
notes.

Over time, the student should increase the tempo of the exercise. Once a tempo of 90 beats
per minute is achieved the student should switch to eighth note triplet vibrato at 60 beats
per minute and gradually increase the tempo. Once a tempo of 80 beats per minute is
achieved with eighth note triplets the student should switch to sixteenth note vibrato at 60
and gradually increase the tempo to 75.