[CatDuet]

It seems like he gets more of a fluctuation in pitch from high to low, and I just get a surge of volume instead of pitch when I'm trying to emulate him on tenor. His stuff is phenomenal, among my favorite things in this world!

 

[saxomorris]

I believe Sonny uses a jaw vibrato. Which is a very subtle movement of the lower jaw up and down to bend the pitch. The movement is very subtle and requires good control. He is one of my favorite players too, especially on tenor.

Have you heard the disc "Sonny Stitt Sits In With The Oscar Petersen Trio" ? Some great playing by everybody.

 

[adamk]

I believe Sonny uses a jaw vibrato. Which is a very subtle movement of the lower jaw up and down to bend the pitch. The movement is very subtle and requires good control.

I thought that was the standard way on sax.

 

[saxomorris]

I think it is the standard way, but it's not the only way.

 

[Guto]

I thought that was the standard way on sax.

When I learned from my first sax teacher (in France) almost 30 years ago he thought me to do vibrato with the diaphragm, modulating the air pressure. He explicitly wanted that I do not move the jaw, not to alter the pitch. Later on I realized some players use jaw vibrato. To adamk's point there are more then one way to vibrato.

 

[B Flat]

I must have misunderstood vibrato, as I though it was all about altering the pitch.
Therefore I use a jaw type of modulation.

 

[jgreiner]

It's all jaw. Take some lessons with an experienced player/teacher. Doesn't matter if they're a jazz or classical player. The meat 'n potatoes are the same.

 

[10mfan]

I studied with the great Jimmy Giuffre for a couple of years and he always taught to support from the diaphragm when you are playing, and using the jaw for vibrato. It’s not the only way to do things, but that was his approach, and that’s what I personally use.
He liked the feeling of the stomach being nice and tight when you are playing, to support the sound.

If you want to learn the vibrato like Stitt, I would just suggest listening a ton of him, and copying what you hear.
That seems to hold true with many things, when it comes to us grabbing some things from our favorite players.

 

[pontius]

keep in mind once you attain it, it can be difficult to get rid of.

 

[LateNiteSax]

When I learned from my first sax teacher (in France) almost 30 years ago he thought me to do vibrato with the diaphragm, modulating the air pressure. He explicitly wanted that I do not move the jaw, not to alter the pitch. Later on I realized some players use jaw vibrato. To adamk's point there are more then one way to vibrato.

WOW. Run in the other direction as fast as you can. They've got some horrific saxophone teachers in France too.

 

[chilehed]

WOW. Run in the other direction as fast as you can.

Why?

 

[LateNiteSax]

Saxophone vibrato is a mixture of jaw movement and diaphragm support. You can't play expressively and well with out both. Although the diaphragm comes at it from the breath support side and the jaw from moving/changing the pressure point on the reed to alter the voicing with the oral cavity and also tongue placement.

Doing overtone exercises on sax uses the same muscles as jaw vibrato and tongue placement. Its called "voicing." Changing registers on the sax without using the octave key. Very very important for beginners to understand this.

 

[Sacks Of Phones]

This thread has reminded me of this movie scene...........

 

[CatDuet]

I am using jaw vibrato, which is what my teacher taught me was right, but I notice it doesn't fluctuate in pitch as much as Stitt's. I am listening and trying to imitate, but haven't found a way in yet.

 

[Guto]

Here is an article that you may find interesting : https://bretpimentel.com/saxophone-vibrato/

 

[adamk]

I started on flute and was taught to use the throat to get vibrato.
now I use a mixture of throat and diaphragm.
On sax I mainly use jaw but for quick fluctuations especially at the end of a short note I sometimes use diaphragm.

 

[turf3]

If you want to have a wider vibrato than currently, you need to practice. Play long tones with the max. vibrato you can, right up to the point where the tone drops out. With practice your practical range will widen.

I first learned this from my sax hero Larry Slezak. When he warmed up, he was using the widest vibrato I'd ever heard in my life. When actually playing, it varied according to the requirements of the moment, from minimal to maximal. I started incorporating this into my practice routine, as well as increasing my overall use and size of vibrato (at a time when the fashion was away from strong sax vibrato). In the end one's use of vibrato is a part of one's identifiable personal sound, and such is the case with me.

 

[turf3]

I never heard of using the throat to vibrate on flute. Seems like a recipe for a strangled sound. I was taught it was diaphragm on flute. Which is what I still do.

 

[Reet McVouty]

If you want to learn the vibrato like Stitt, I would just suggest listening a ton of him, and copying what you hear.
That seems to hold true with many things, when it comes to us grabbing some things from our favorite players.

+100

 

[JL]

I am using jaw vibrato, which is what my teacher taught me was right, but I notice it doesn't fluctuate in pitch as much as Stitt's. I am listening and trying to imitate, but haven't found a way in yet.

Are you sure you're talking about vibrato or some other, slightly more extreme, effect? If what you are hearing is a fairly wide vibrato, then what turf suggested is the way to go. Practice bending the pitch more, using a jaw vibrato (jaw vibrato is what varies the pitch up and down).

It might help if you post a clip of Sonny Stitt doing the 'vibrato' you're trying to emulate. He could be using some other technique to get the sound you're hearing (false fingering, etc).