Leçon 14 sur 29TrompetteIntermediate

Vibrato

4:19

Mike Lovatt montre comment ajouter du vibrato à la trompette, avec et sans, pour qu'une note sonne vivante et porte au lieu de rester plate.

Extrait du coursJoue du swing authentique à la trompette29 leçons (1h 2min)

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29 leçons (1h 2min) · 1 gratuites
    • 01. Slinky - Introduction et interprétation

      1:38

    • 02. Articulation

      5:21

    • 03. Notes longues et courtes

      1:44

    • 04. Le coup de langue

      3:12

    • 05. Technique de pistons

      1:13

    • 06. Vibrato

      Tu es ici

      4:19

    • 07. Récapitulatif

      0:53

    • 08. Interprétation avec sourdine

      1:05

    • 09. Comment utiliser une sourdine plunger

      2:39

    • 10. Défi (avec sourdine à piston)

      0:49

Transcription de la leçon

Understanding Vibrato in Music

You've probably heard on that last note that I made it come alive. I used what we call vibrato.

What is Vibrato?
Vibrato is a way of making a note sound as though it's got some life in it, as though it's got some soul in it. Think of the soul of the note.

Let me demonstrate:

  • Without Vibrato:
    "There's a note without vibrato. It kind of just hangs there. It sounds quite dull, I think, as well."

  • With Vibrato:
    "Now, I'm going to use the vibrato I just talked about. Vibrato is a way of making the note sound sonorous. It makes it carry; it makes it project."
    It makes us sound as though we're reaching the people that are listening to us.

How to Create Vibrato

Let me play that note again, this time using vibrato.

How do we do vibrato?
Well, vibrato is created in a number of ways. I tend to use the airstream, the airstream with the tongue. A few moments ago, we talked about how the airstream can help us with register. Now we're going to talk about how the airstream can help us with obtaining an effect, a vibrato.

  • The same way that we used the tongue position, we can use that with the airstream for this vibrato.
  • The tongue is moving to kind of interrupt the airstream to change the speed, so the note has a shimmer to it.

Practicing Vibrato Techniques

I'll start off with the note straight and gradually add the vibrato.

See if you can hear when the note changes.

We can vary the speed of the vibrato:

  • Fast Vibrato:
    "In this one, I'm going for reasonably fast vibrato."

  • Slow Vibrato:
    "We could play it slow and it would sound like this. That sounds a bit comical to me, but maybe you would like to try that on another piece you're playing."

    Or maybe earlier on in this piece, let's try using that slow vibrato in the second bar.

Now, let's play that second bar with the fast vibrato.

"There we are. It really brings that phrase to life again, that dotted crotchet in the second bar."
If we just play it straight, "it kind of just stops the music. It doesn't keep on travelling."

Making Music Travel

We've talked about travelling triplets. We now want to make the music travel with the feel and the sound that we're making as well.

And then, of course, the short note is a landing point again, just like we had the landing point on the third beat in the first bar after the arpeggio.

Another Method for Vibrato

One other way to make vibrato is to use your finger on the valve. I'll just demonstrate that now.

I'll do that slowly.

"Basically, what that's doing is pushing the mouthpiece against my mouth and then releasing it. So it's making the lips move, changing the aperture, that's the hole which the air comes through between our lips."

So, that's another way of doing vibrato.

You may want to go and try that. Vibrato is a very personal thing, and maybe you want to go away and have a bit of fun trying it your way.

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Mike Lovatt a étudié au Trinity College of Music, où il a reçu la Jon Kelly Jazz Scholarship. Il s'est produit et a enregistré dans une immense variété de styles avec des artistes tels que Quincy Jones, Robbie Williams, Eric Clapton, l'Orchestra of the Royal Opera House Covent Garden, le Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey et Danny Elfman, parmi bien d'autres.

En tant que trompette solo dans le West End de Londres, Mike s'est produit dans Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady et Spamalot, entre autres. Il a joué sur des bandes originales de films dont les James Bond, Harry Potter avec le London Symphony Orchestra, le film primé Chicago, Beyond the Sea de Kevin Spacey, Charlie and the Chocolate Factory, Madagascar et The Corpse Bride. On l'entend à la trompette et au cornet dans Mrs Henderson Presents de George Fenton, et à la trompette dans Looking for Eric.

Mike est trompette solo du John Wilson Orchestra, nommé aux Grammy, et a été mis en avant dans leurs célèbres concerts et enregistrements des BBC Promenade.

Mike est très demandé comme professeur et clinicien, et il est professeur de trompette à la Royal Academy of Music et au Royal College of Music. En avril 2013, il a eu la fierté de se voir décerner la prestigieuse Derek Watkins' Chair of Trumpet à la Royal Academy of Music de Londres.

Dans ses cours MusicGurus, Mike partage les secrets de sa polyvalence, te montrant comment maîtriser les styles authentiques de trompette swing, rock et latino afin que tu puisses jouer chacun d'eux avec assurance et le bon feeling.

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