As a beginner Native American flute player (for less than 2 months total), I’ve found it very difficult to develop the much sought-after vibrato when playing.
When I first began, I’ll be honest, I thought it was my Little Horse beginner flute that was the problem. But now that I’ve been practicing more and more and have been able to develop this skill to some extent, I realize that I’m the problem here, although I have heard that better quality flutes make for a more effortless vibrato – not sure how true this is.
At any rate, I understand that vibrato is a skill that the flutist must work at.
Vibrato – The elusive wavy sound that everyone desires
I’ve done quite a bit of research online and watched many Youtube videos looking for the key to developing a vibrato.
When I first started trying to get that nice wavy sound, I didn’t know what I was doing. I didn’t really know where to begin. As I’ve heard and know now, there are different ways to create vibrato, but it seems that most people that are successful with developing a beautiful and reliable one use both the diaphragm and the laryngeal muscles – the vocal cord muscles – using the diaphragm when the vibrato is very slow but switching over to the laryngeal muscles as the speed increases.
Once the technique is well-developed, the transition is seamless.
But, not for me. In fact, I still don’t even think I’ve been using my laryngeal muscles as I should be doing.
It’s like I don’t know how to. The mind-muscle connection isn’t there in a way, and so I find myself often moving my adam’s apple up and down to try to make the vibrato. I don’t know what I’m doing.
Tricks to developing a vibrato
I’ve yet to find any exercises that really help improve this learning process, but something that I have found interesting is that people who have practiced blowing smoke rings often find it easier to develop vibrato.
I’m certainly no expert in this matter, but I suppose they use the same muscles in the throat.
So, with this said, I suppose that smoking and practicing your smoke rings is one practice to increase your vibrato development.
But it should be natural, right?
The truth is, I still don’t know if this diaphram-laryngeal muscle transition is what I should be working towards. I’ve read on some singing websites that new singers often strive too much to develop a vibrato and what often comes about is a “counterfeit version of vibrato, typically through unhealthy means.” And some suggest that anything that is forced is indeed a “fake” vibrato.
Some of the research I’ve done online points to this being one of the most difficult skills to develop, yet some claim that vibrato should be as natural as breathing.
Much of the information I’ve found on developing the type of vibrato flutists need comes from websites discussing singing, and according to SingWise.com:
It occurs naturally in order to protect the vocal folds. The oscillations that occur in vibrato are the body’s reflexive response to mounting tension, and are believed to be the result of the healthy function of the vocal folds. The tension of the vocal folds is varied rhythmically, creating movement in pitch
Some of what I’ve read goes on to state that the best way to get a good vibrato is to relax your throat muscles as much as possible. Then… it should occur naturally.
This is something I’m still having quite a bit of trouble with, but maybe it’s because I’m still pushing too much toward creating something when I should just be sitting back and letting it happen. That said, before I even knew what vibrato was when I first got my flute I certainly didn’t have it.