Clarinet vibrato

ByBret Pimentel

The question of whether the clarinet should use vibrato has been argued to death, and I won’t pursue the question further here. Suffice it to say that it’s a matter of taste and a matter of tradition.

American and European classical clarinetists usually don’t use it. Why that particular quirk of taste and/or tradition has taken hold probably can’t be pinned down for certain. But there are some weak theories that are worth retiring for good:

  • That the clarinet’s sound is somehow special or has unique properties that make vibrato unnecessary or undesirable.
  • That vibrato cannot be artistically executed on the clarinet.
  • That the orchestra just “needs” a vibrato-less sound, and clarinetists happened to step up to volunteer.

I don’t see any reason to believe that the clarinet is uniquely unsuited to vibrato, or that there’s anything inherently “right” about the clarinet being vibrato-free.

Among proponents of clarinet vibrato, there is disagreement about which body part(s) produce the effect—the lips? the diaphragm? the cheeks? This is essentially a settled matter among clarinetists’ closest cousins, saxophonists, who nearly universally produce vibrato with jaw movement. I find this to be the only really viable option on the clarinet, as well, since it can be manipulated mostly independently of tone, response, intonation, and dynamics (by maintaining stable embouchure and breath support).

As to why vibrato hasn’t become standard in the clarinet world, my best theory is that the clarinet’s unique high voicing is relatively easily disrupted by jaw vibrato. While it’s very possible to do clarinet jaw vibrato well, it does take some care to do it without destabilizing the voicing and causing pitch and tone instability. I suspect that over the centuries clarinetists have found this to be a mild deterrent, and instead have leaned into clear, vibrato-less tone as a virtue.

In any case, some classical clarinetists have used it with great success, but the prevailing tradition is a pure and un-embellished tone, without even a trace of vibrato.

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    20s 72 25%
    30s 67 24%
    40s 40 14%
    50s 41 14%
    60s 35 12%
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    20s 54 10%
    30s 31 29%
    40s 36 17%
    50s 33 19%
    60s 12 18%
    70s 1 6%

    Region

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    2021 Data
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    Australia 11 4%
    Europe 20 7%
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    2011 Data
    Australia 11 6%
    Europe 12 6%
    North America 162 87%

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    major city or metropolitan area 127 45%
    city, but not a “major” one 69 24%
    suburb or exurb 63 22%
    rural or remote area 24 8%

    2011 Data
    major city or metropolitan area 93 50%
    suburban area 66 35%
    rural or remote area 23 12%
    other 5 3%

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    Less than high school diploma 8 3%
    High school diploma or equivalent 6 2%
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    Bachelors degree 70 25%
    Some graduate school 18 6%
    Masters degree 103 37%
    Doctorate 38 13%
    Other degree type or comparable certification 6 2%

    2011 Data
    High school diploma or equivalent 8 4%
    Some college 28 15%
    Bachelors degree 59 32%
    Some graduate school 16 9%
    Masters degree 53 28%
    Doctorate 16 9%
    Other degree type or comparable certification 6 3%

    Thanks again for your participation and stay tuned for more survey results.

One Comment

  1. I used some vibrato on bass clarinet in pit work to warm up the tone.for some passages that accompanied vocals. It was a very nice effect. Last season I played bass clarinet for a soloist feature with a wind ensemble. The composition was the Theme from Schindler’s List and my goal was to replicate as much as possible the sound of a cello since the tessitura of the bass clarinet is very much the same as that instrument. Also, the conductor (a fine woodwind player) requested vibrato. All this was easy for me in that sax is my major instrument.

    Reply

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