Vibrato, vibration |
VIBRATO, vibration (Italian vibrato, Latin vibratio – vibration).
1) Reception of performance on the strings. instruments (with neck); uniform vibration of the finger of the left hand on the string pressed by it, causing a periodic. change within small limits of pitch, volume and timbre of sound. V. gives sounds a special coloration, melodiousness, increases their expressiveness, as well as dynamism, especially in conditions of high concentration. premises. The nature of V. and the ways of its use are determined by the individual. style of interpretation and artistic. performer’s temperament. The normal number of vibrations of V. is approx. 6 per second. With a smaller number of vibrations, a swaying or trembling of the sound is heard, producing anti-art. impression. The term “V.” appeared in the 19th century, but lutenists and gambo players used this technique as early as the 16th and 17th centuries. In the methodical The manuals of that time give descriptions of two ways of playing the V.: with one finger (as in modern performance) and with two, when one presses the string, and the other quickly and easily touches it. Ancient names. the first way – French. verre cassé, engl. sting (for lute), fr. langueur, plainte (for viola da gamba); the second is French. battement, pincé, flat-tement, later – flatté, balancement, tremblement, tremblement serré; English close shake; ital. tremolo, ondeggiamento; On him. language the name of all types of V. – Bebung. Since the decline of solo lute and viola da gamba arts. V.’s application is connected by hl. arr. with playing instruments of the violin family. One of the first mentions of violinist. V. is contained in the “Universal Harmony” (“Harmonie universele …”, 1636) by M. Mersenne. Classic school of violin playing in the 18th century. considered V. only as a kind of jewelry and attributed this technique to ornamentation. J. Tartini in his Treatise on Ornamentation (Trattato delle appogiatura, ca. 1723, ed. 1782) calls V. “tremolo” and considers it as a type of so-called. game manners. Its use, as well as other decorations (trill, grace note, etc.), was allowed in cases “when the passion requires it.” According to Tartini and L. Mozart (“The Experience of a Solid Violin School” – “Versuch einer gründlichen Violinschule”, 1756), B. is possible in cantilena, on long, sustained sounds, especially in “final musical phrases”. With mezza voce – imitation of the human voice – V., on the contrary, “should never be used.” V. differed uniformly slow, uniformly fast and gradually accelerating, indicated by respectively wavy lines above the notes:
In the era of romanticism, V. from “decoration” turns into a means of music. expressiveness, becomes one of the most important elements of the violinist’s performing skills. The widespread use of the violin, initiated by N. Paganini, naturally followed from the coloristic interpretation of the violin by the Romantics. In the 19th century, with the release of musical performance on the stage of the big conc. hall, V. is firmly included in the practice of the game. Despite this, even L. Spohr in his “Violin School” (“Violinschule”, 1831) allows you to perform V. only part. sounds, to-rye he marks with a wavy line. Along with the varieties mentioned above, Spohr also used the slowing down V.
Further expansion of the use of V. is associated with the performance of E. Isai and, in particular, F. Kreisler. Strive for emotion. saturation and dynamism of the performance, and using V. as a method of “singing” technique, Kreisler introduced vibration when playing fast passages and in the detach stroke (which was forbidden by classical schools).
This contributed to overcoming the “etude”, the dryness of the sound of such passages. Analysis of violin V. dec. species and his art. applications were given by K. Flesh in his work “The Art of Playing the Violin” (“Die Kunst des Violinspiels”, Bd 1-2, 1923-28).
2) The method of performing on the clavichord, which was widely used by him. performers of the 18th century; expressive “decoration”, similar to V. and also called Bebung.
With the help of a vertical oscillatory movement of the finger on the lowered key, thanks to which the tangent remained in constant contact with the string, the effect of fluctuations in pitch and sound strength was created. It was necessary to use this technique on sustained, affected sounds (F. E. Bach, 1753) and, in particular, in plays of a sad, sad character (D. G. Türk, 1786). The notes stated:
3) Reception of performance on certain wind instruments; slight opening and closing of the valves, combined with a change in the intensity of exhalation, creates the effect of V. It has become widespread among jazz performers.
4) In singing – a special type of vibration of the singer’s vocal cords. Based on natural wok. V. lies uneven (not absolute synchrony) fluctuations of the vocal cords. The “beats” that arise due to this cause the voice to periodically pulsate, “vibrate”. The quality of the singer’s voice—his timbre, warmth, and expressiveness—to a large extent depends on the property of V.. The nature of singing V. does not change from the moment of mutation, and only in old age V. sometimes passes into the so-called. trembling (swinging) of the voice, which makes it sound unpleasant. Trembling can also be the result of a bad wok. schools.
References: Kazansky V. S. and Rzhevsky S. N., Study of the timbre of the sound of voice and bowed musical instruments, “Journal of Applied Physics”, 1928, vol. 5, issue 1; Rabinovich A. V., Oscillographic method of melody analysis, M., 1932; Struve B. A., Vibration as a performing skill of playing bowed instruments, L., 1933; Garbuzov HA, Zone nature of pitch hearing, M. – L., 1948; Agarkov O. M., Vibrato as a means of musical expression in playing the violin, M., 1956; Pars Yu., Vibrato and pitch perception, in: Application of acoustic research methods in musicology, M., 1964; Mirsenne M., Harmonie universelle…, v. 1-2, P., 1636, facsimile, v. 1-3, P., 1963; Rau F., Das Vibrato auf der Violine…, Lpz., 1922; Seashore, S. E., The vibrato, Iowa, 1932 (University of Iowa. Studies in the psychology of music, v. 1); his, Psychology of the vibrato in voice and instrument, Iowa, 1936 (same series, v. 3).
I. M. Yampolsky
