July 21, 2025 • 30 mins
Vibrato gets overhyped, overcoached, and misunderstood. But here’s the thing… You don’t need to create vibrato—you need to release it.
This episode breaks down what vibrato actually is (and what it isn’t), why trying to “make it happen” never works, and how a little silliness might be your fastest shortcut to unlocking it. You’ll hear our favorite metaphors, the difference between natural and manufactured vibrato, and what to do if yours sounds wobbly, wide, or is nonexistent.
If you’ve ever asked, “Why don’t I have vibrato yet?” this one’s for you.
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👉 Want to know exactly what your voice needs to improve? Get a vocal evaluation from our professional coaches here: https://lessons.voxtapestudios.com/vocal-evaluation
👉 Book a 1:1 session with Coach Lara: https://lessons.voxtapestudios.com/trial-lesson
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
doing it acapella
(00:00):
I recommend and doing it smaller than a half step
so instead of ah
just ah
until you get there
it won't happen that fast if you don't have vibrato
yeah right this moment
and you try to do that
my No. 1 tip is
just pretend like you're a silly opera singer
(00:21):
yeah yes
get out of your head about it
yeah um
and just get into your body
yeah yeah it's like
hey Vox Star and welcome to from singer to artist
(00:44):
I'm Lara Chapman award winning singer and songwriter
turned viral vocal coach and the host of this show
at VoxTape Studios
we help singers from all over the world
level up their voices
by teaching them the three fundamental skills
all singers need technique
awareness and artistry whether you're looking to go pro
or just develop your voice for fun
my team and I are here to help
(01:06):
check the link in the description
to book your first session
or grab some of our other resources
Alrighty are you ready
let's get started
even if you don't want to be an opera singer
it's probably a good idea to work on your vibrato
a little bit
unlock it and control it and all of the above
and to talk about vibrato today
I have with me Emily from our team hello
(01:28):
hello thank you for being here
wow thanks for having me
of course of course anytime
thanks for being a coach
and thanks for being here in the studio
I love it yeah
so this uh
beautiful day we're going to be talking about vibrato
what is vibrato how do you do vibrato
when to do vibrato and the different kinds of vibrato
(01:49):
yes so
let's maybe first start with the definition of vibrato
what it is so I'll just make a sound for you yes
let's do it right vibrato is ah as opposed to ah
that would be classified as a straight tone
that second one so
vibrato is that vibrating sound
where we're alternating
(02:09):
technically between two pitches
but so close together that it doesn't sound like it
yeah it
you're just it's kind of like a shake in the voice
a little FL not do do all those well yeah
different kinds but anyways okay
I was gonna say like
like a flutter but but that's a kind of a rattle
that's a kind of a rattle yes
so that I just Learned about
I didn't know about that before
Emily literally just told me that I was like oh
(02:30):
I didn't know there's different kinds of vibrato
but anyways it's that shake in your
and so basically
it happens when you are sustaining a note
so when you're sustaining a note
like meaning like you're holding a note out
you basically have two options
you can either do straight tone
or you can add that shake
(02:51):
that vibrato in your voice to just give it that fuller
bigger kind of effect right
yeah yeah
it's um
it shows up a lot in classical music
and musical theater and I think it
it adds a little sparkle a little um
like you said rounding of the tone
uh huh
uh and it adds a little bit of pizazz
(03:13):
pizazz pizazz
makes the sound feel alive
yes so in classical music
it's everywhere on every single note
there's vibrato right
and then in musical theater
it's not on every single note
it's not on every single note it often goes
and then with vibrato
no doubt I totally
(03:34):
totally Learned that in musical theater school
I remember that
and I still use it sometimes in pop songs too
oh it shows up
yeah so we have musical theater right
and then also contemporary music
and in contemporary music
it's definitely not everywhere all the time
which makes it so interesting to me
that a lot of singers are obsessed
with learning vibrato yes
where I'm like actually
(03:57):
it's not that important yeah
you'll do just fine without it
yeah yes
yeah but of course vibrato
you know if you can do it
that's also kind of like a sign of
I don't wanna say like good technique
but like it can be viewed as that though
even if that's not the case on a technical level
yeah it can be viewed as like
oh they're a singer because they have vibrato
(04:19):
they have the thing that singers do
yes yes
and so in pop music it's still when I say pop
I just mean contemporary in general yeah right
that's country that's R&B
that's soul that's whatever right
yeah rock uh
and so anyways it's still there
but it's not nearly as common
so if you are a contemporary singer
(04:40):
just know that vibrato is not the end all be all yeah
and it's okay if it's currently not happening
that doesn't make you any less of a singer
but we're gonna teach you how to do it uh
and also I just wanna say this real quick
in musical theater school
because again like
if you heard me talk about my journey
in musical theater
(05:00):
like I never felt like I belonged in musical theater
and I I mean
I still don't but anyways
uh they called me the straight tone queen haha
in musical theater cause I could not do vibrato
interesting at all
until I went to musical theater school
where I Learned how to like
let go a little bit and not be so squeezy and so ugh
(05:24):
all the time I was still doing that
don't get me wrong but we were also singing like when I
and that's a little bit heavier
yes and so there
you know you can do like
it was much easier for me to do vibrato there yeah
but on a belt
like vibrato on a belt or a mixed belt or no chance
(05:45):
and it is much harder cause you're
I mean getting into to how it's made right
like it's a a belt is like a higher intensity
you have more pressure going on
yeah right
and to simplify um
and it's gonna be a lot harder
vibrato is a very tension release forward right
you gotta be super relaxed
(06:06):
that's not the case for everyone who has vibrato right
but often if you're struggling to find it
let's see are you dealing with some jaw tension
is your jaw grabbing is your tongue really tight
is your neck squeezing you know
all of those things check in with that
that's gonna help like
that sounds like that's how you unlocked your vibrato
mm hmm
and a lighter vocal production with more air flow
(06:29):
yeah yeah
more air flow uh
we're not going to like when I right
that's that's a little too much to get what we want
but instead of when I uh
right it then sounds a little bit more natural
(06:49):
and a little bit less force
exactly exactly
which is that also gets into like you can force vibrato
but that's the kind that and I never say things that
I never say that things sound bad
but that's the kind that sounds bad
that is not the aesthetically pleasing
or the thing that we listen for yeah
um when it comes to vibrato uh
(07:10):
I think that's also why it's a sign
like it's often viewed as a sign of good
technique because in order to do it right
you have air flowing and you're relaxed yeah
the tension's gone yeah
exactly
there's not too much compression in your vocal folds
all of the above exactly
but that it you can still have those things
and not be producing vibrato
there aren't there's not a lot of
there aren't a lot of studies on it
(07:30):
mm hmm can't study it on a living person
you know which is a big challenge
well we were talking about this yesterday
and I don't really know why
why can't we study this on a living person
we're talking
we're theorizing that maybe because of the
the view that we need from the camera
that it can't go in the way that scopes typically do
(07:53):
hmm
weird someone fact check me yeah
I don't know either
like we're just theorizing here at this point yeah
I just read
I was talking to you like I about I just read a study
it was like a case study
so it was only one or two people
and it was really just measuring air flow
versus vibrato um
or how how vibrato is made in regards to air flow
(08:16):
and it was like 17% more air flow was helping with
you needed for
you need 17% more airflow when you're doing vibrato
versus a straight tone
interesting for this this one mezzo soprano yeah
that's what that's how it was measured yeah
um
and what also came with that was a little more volume
(08:37):
so it wasn't pushing a little more loudness
it wasn't when I cause that takes a lot of
it's in head voice so it's not
it doesn't feel squeezy right
but it's taking a little bit more effort to get there
um
but
like you can do it
it's might be a little bit harder when I
(09:01):
that's the most natural for me
interesting
my brain is going in a million different places
all at the same time
can we talk about a couple tips to unlock vibrato
like if people are struggling
I would say
my No. 1 tip is just pretend like
you're a silly opera singer
(09:22):
yeah yes
get out of your head about it
yeah um
and just get into your body
yeah yeah it's like
oh
I just like
I love it well
we're another thing is
we're demonstrating all of our vibrato and head voice
right now you know
this morning or today um
(09:44):
which doesn't mean that it's exclusively limited to
but no no
no that you can
you gotta find your your key to the door
yes right
you gotta find your way in
I think head voice
because it is a lighter vocal production
well is
is a an easier key in yeah
yeah I usually do that with students
like if they're
if they're struggling to get into a vibrato
(10:05):
I'm like let's try it in head voice first
cause your head voice I I usually say this
like your chest voice is the source of power
your head voice is the source of flexibility
so if we are up in head voice
because it's we're more flexible
more agile it's easier for the vocal folds to kind of
go between the the pitches
yes to get you that shake in your voice
(10:29):
yes and that's another thing to practice
um well pitch
alternating pitches is not the end all
be all of learning vibrato
but if that's something you struggle with in general
it could be helpful so that would be like a
right
I would do that and then speed it up as fast as you can
yes yeah
um
(10:50):
also bouncing off that
doing it acapella
I recommend and doing it smaller than a half step
so instead of
ah
just ah
until you get there it
it won't happen that fast if you don't have vibrato
yeah right this moment and you try to do that
yeah I can't guarantee anything
(11:12):
but I can probably say yeah
99% sure that won't happen um
but just start with the alternating
start with the flexibility
start with the control of it all
um that's
that's my biggest tip oh
and just just try it
yeah try it
it's it's actually that it's so
(11:33):
sorry but
it's not that deep is something you always say yeah
it's not it's not that deep
you probably can do it yeah
just try it yeah
it's I feel like we're it always in the
in the voice community singer I
I think in the um early singer community
early to like intermediate singer community right
(11:54):
like there is an obsession with doing things right
I gotta do it right because there's so much out there
there's so much information out there yeah
which is that's great
we live in this time of like really accessible stuff
yeah but also just try it
trying to shake your voice
trying to do a little bit of
a little bit of vibrato is not gonna
(12:15):
like put you under you know
like you're gonna be just fine if it happens
or if it sounds bad to you or whatever
but just try it I've had people were like
we workshop we workshop and then I'm like
just try it yeah
and then they're like ha ha ha like what
what's your problem OK
so we didn't need to alternate first yes um yes
(12:36):
I mean you do that one time and then you start every
every other vibrato session with
why don't you try it first
yes yeah
oh my gosh but um
that's actually that's my biggest tip
just try it I
same goes for like everything for me pretty much
just get out of your head and just give it a shot
and don't judge yourself if it doesn't work
who cares how it sounds yeah
who cares we're just exploring yeah
(12:58):
that's how you become a great singer yes
by just trying and just exploring
and just going forward I
and failing a million times
fail forward fail forward
fail forward that's how
that's the key to harmony
doing it wrong and being like
that does not sound good haha
yes that
what I am doing does not mix
and then you adjust what you're doing I
I talk to my students all the time about
(13:19):
there are just so many little vocal stems
I do around the house I'll be like
ah ah
yeah or like
to the point where my girlfriend's like
I need like one minute hahaha
please please shut up
but I just I just like
always experimenting with my voice
consciously and subcon and like not
not consciously yeah
uh and I think that's what helps you grow as a singer
(13:42):
yeah 100% like
like you said just experimenting playing
we have we are gifted with this instrument
you know like might as well
for free for free
you don't even have to buy the instrument
it's a freaking guitar yeah
yeah yeah exactly
I love that okay
so we have imitate an opera singer
we have just try it just try it
(14:02):
bouncing back and forth between the notes
different notes increasing and decreasing your air flow
yep see
try it like with a ton of air
try it with no air after a
uh huh uh
it might be a little harder or that might be your key
find your again
find your key to unlock the door
yeah yeah
and that's like head voice right
(14:23):
like if it's higher in pitch
try that it's usually a little bit easier
but it's different for everybody
um try it in head voice uh
releasing tension so like releasing tension
if you like shake your head a little bit
shake your head not to go
but to shake your head to release the back of your neck
also keep your jaw still like
vibrato doesn't come from opening and closing your jaw
(14:45):
yes okay
it's it's a pitch alteration not a
manipulation of the vocal track
yes right
yes exactly
yeah we're not
we're not
because yes
you hear it you hear what that sounds like
but talking about movement and shaking
and keeping the jaw still
if you just shake your hand while you
(15:05):
while you do vibrato
like just somehow that physical connection helps
I think that there is some sort of kinetic
and maybe I'll do a study on it
yeah but there is
and I'm sure it has been done as well
but um
a kinesthetic connection between
what you do with your hands
and what your voice does you know
we were talking uh
(15:25):
about like pressing your hands together
the firmer you wanna get and then taking them apart I
there's something that is like
when I apply pressure here
it's telling my voice what I want it to do
yeah and I think it can be similar with that yeah
just like a little shaking
but like a not a
like super controlled kind of shake
but just kind of like just flapping around yeah
(15:45):
it's probably part of that release yeah
where it's like I'm releasing here
release here yeah
yeah just release yeah
I think that's that's a good
good way to put it release to like let the vibrato out
and that's why when you're like holding a note
like in musical theater right
where it's like straight tone
I think you even hear Whitney Houston do it sometimes
like
(16:07):
right yeah
it's straight and then into vibrato
it opens everywhere up yeah
right it
it gives you it gives you that release
yes and how you said earlier too
the vibrato like is is perceived like
like louder like yes
more powerful because of that release
yes and you can hear that
when you're going from straight tone into vibrato
it's just that it just opens up
yeah it does
(16:28):
even like
instead of when the rain is falling in your face
when the rain it's fine in your face
you know it doesn't have to be
I did a little extra there
but you can throw it in
just for that little extra color
oh yes
of course
it doesn't need to be the big powerful kind of a bravo
I OK
so this um
(16:49):
I guess
this kind of goes into the different kinds of a bravo
yeah so I
I okay
I made this up hahaha
so this is not science okay
I made this up
my two kinds of vibrato are the drama vibrato
and the mood setting vibrato
so the drama vibrato is the end I
(17:11):
right like on the big notes
you're going into vibrato there um
just to like add that extra power
like the extra drama that's the drama vibrato
and the mood setting vibrato is what you just did
in the like
right like it's
it's it's in the verse
it's softer and it's just kind of like softer yeah
(17:34):
it just
and it's like easy going right
so those are like my two kinds of Abrado
the mood setting and the drama of Abrado
I love that yeah
from like a stylistic point of view
cause
that mood setting is what you're gonna use in jazz hmm
right like
I and yes right
(17:56):
right since my man and I
right now we're taking it out of um
where the style you're singing comes from
oh oh oh
oh yeah yeah yeah
that opens up a whole thing
is it coming from western classical
or is it coming from early black American music
yeah um
(18:17):
that you know
keeps going back but like that mood setting vibrato
I would say sounds like it comes from those early
black American music styles yeah
and I could totally see that like the 40s
50s where it is it's very intentional in specific ways
uh even if it wasn't intentional for them
(18:38):
then if they were like this is what my voice does
mm hmm um
and I think that's
maybe that's why it feels so mood setting
because it's so just like
this is what my this is what my voice does
this is how I communicate yeah
Musically where the western classical is like
we are going to be perfect
we are going to be pretty yeah
and we're here to entertain you
which has its place as well yeah
(19:00):
um yeah
very interesting what are your
like you're
you're more sciency hahaha
so like what are the actual different kinds of vibrato
yeah not the ones that I made up
so yeah
so there's your like average air flow vibrato
that's your hey hey
that's how it sounds in my voice right
um then there is a wobble
(19:22):
which is a wider gap in pitches and a slower vibrato
that's often going to show up in older singers okay
that can also be adjusted
okay um
I would say with a little bit of tension release
no actually more tension release
yeah and um
and uh
a little bit more air flow and articulation practice
(19:44):
oh okay
um but that would sound like hey
hey
you hear how kind of like
da da da da
I have to do a little little compression
yeah to get that going
and the other kind is the faster vibrato
it's called flutter I'll demonstrate best I can
but a great example is Ben Platt
hmm hmm hmm waving waving
(20:05):
like it's super
super fast
and it doesn't mean when I first unlock my vibrato
it was super fast yeah
super fast yeah
so that goes into now
like manipulating the speed of your vibrato
is that possible
that's usually a question that I get in singing lessons
too yeah
and it is it totally is
it totally is
(20:25):
I think it's easier to speed it up than to slow it down
hmm um
but it it'll just take a little bit of practice
it's just practicing what you wanna do yeah
if again with uh
if you have
if you're working with wobble and you don't want wobble
yeah um
I really prioritize articulation work
especially in older singers um
(20:47):
getting the tongue moving separate from the jaw
all of that tongue release
jaw release
everything moving the head around um
for release and using a little bit more air flow
for flutter
I'll actually use a little bit less air flow
ooh okay'cause there's probably like
if you wanna do flutter
or if you wanna get out of flutter
(21:08):
if you wanna do flutter more
if you wanna get out of flutter less
so if you wanna do a faster vibrato
more air more air
if you wanna slow it down
a little less air a little less air OK
and I also find that to do flutter
it's easier to pull the volume back
if that's not what your natural vibrato is
mm hmm um
it's easier to pull the volume back and start there
(21:29):
yeah yeah
okay very cool
yeah again
for me personally
like even when I started voice lessons
like before I went to the musical theater school
I was taking voice lessons for seven years
and I went to school without a vibrato
so if you are currently frustrated
(21:49):
because you've been singing forever
and you still can't do vibrato
it's okay it's okay
like I couldn't do it either
and you just need to find the right combination yeah
it's like unlocking a like a lock
yes you know
it's like it's a little like oh
what exactly needs to work together
what's the combination right
(22:09):
get your foot in the door and then adjust it
so if you finally unlock your vibrato
and it's not the sound that you wanted to be
just stay there for a second
just stay in it for just a short amount of time
yeah and then eventually
the more comfortable you get with it right
don't
don't try to change it while it's still in process
unless it's physically uncomfortable obviously
(22:31):
well yeah
yeah that's not what we're going for
but um
just let your body learn like oh
this is safe for me to do yeah
I can do this yeah
it's also funny to see how sometimes like with
with students when I tell them like
just keep holding the note and try not to vibrato
and if it's not coming it doesn't matter
just keep holding the note and then at the very end
right as they're running out of breath it
(22:52):
it comes in and that's yeah
and that's why
you experiment with the amount of air that you use
because for some people you need more
and for some
you just need to take all the air out of it yeah
yeah to start yeah
it's it's interesting
every voice is different of course
but yeah I think we
we covered a lot of a lot of like
different things
that you can try to get that vibrato to come out
I just want to circle back real quick
(23:13):
to when to use vibrato particularly in
in songs that we talked about
like in the different genres yeah
and in contemporary
it's actually really not that much at all
like I do a lot of like style breakdowns yeah
where I talk about these are the tones that were used
and these were in the embellishments that were used
and in contemporary stuff
like very rarely am I like
(23:34):
and there's the vibrato like yeah
it's just like every so often it pops in
but not really not that often uh
I wanna talk about uh
when to use vibrato specifically in contemporary music
so pop rock country
soul R&B
funk all of the above right
yeah
um so when should or could singers
use vibrato without like going over the top
(23:55):
because then
you're gonna sound like a classical singer
or a musical theater singer
trying to sound pop yeah
and we don't want that right
I want you to sound like a contemporary singer
singing contemporary music
so what are some of your tips
yeah for when to use vibrato
so and when we're in a musical theater style
I think of a brado as like the bow on top
it's the last step it's typically the end of the phrase
(24:16):
this is generally right yeah
in contemporary music
the vibrato is not really in that spot like yes
Whitney Houston does it a little bit
Celine Dion will do it a little bit in those
in the drama vibrato of it all
yeah right
but in the mood setting vibrato
I I love those two terms
I'm totally grabbing them
I love it in the mood setting vibrato like don't know
(24:43):
right instead of don
yeah I'm putting it
I'm using it as a very specific sort of like do
do do do
do wind chime effect you know yes yes
why I'm doing I'm
(25:05):
it's part of the embellishment that I'm doing
it's not the only thing that's going on
yes yeah yes
it's for a very specific musical reason
yes yes yes
oh I love that
I think
my biggest tip for understanding when to use vibrato is
just listen to some of your favorite singers yeah
oh yeah
and see what they're doing
(25:26):
see what they're doing
you're gonna pick up on a pattern
yep and you're gonna see oh
it's not that much yeah
it's not that much yeah
that's my other thing
you think of your baseline in contemporary music
as straight tones yes
and then you add vibrato
100% where you want a little life
or you or you're like
this feels tone totally flat
(25:48):
not pitch flat yeah
yes yes
oh hold on OK
um two thoughts
two thoughts yeah
yeah one
like when you just said totally flat uh
actually sometimes I use vibrato to get me up there
to give me a little bit of that release
release an airflow yes
in that you know
like belty range where I'm like
cause I am just a chronic going flatter person
(26:12):
going flat personer whatever oh
I got something on yeah
yeah yeah
so uh
Kate and I coach Kate and I yeah
we're talking I said girl
what do you know about vibrato
because there's like not much out there
and she's like no
not much but there are some theories that uh
it's the the toggle between your uh
CT and your ta your cricothyroid head voice muscle
(26:34):
and your thyroid retinoid chest voice muscle yeah
and it's stimulated by the vagus nerve shoot okay
so cool sounds like
sounds like the the m buzzword
the mix word yeah
yeah yeah
yeah
and it sounds like when you were talking about that oh
it helps because it gives you a release intention or
yeah you need a release intention to get there um
(26:55):
you're using more air flow and you're mixing more yeah
because I know
cause you've talked about being a chronic
chronic chesty chesty
oh yeah yeah
chest puller upper
yeah yes
oh yes
it makes me more mixy
and so it lifts me all the way up to the pitch yeah
love love
so yeah I do that sometimes when I'm like
(27:17):
trying to belt a note and I'm like
I'm going under
add a little bit of a rattle to give me that
give me that lift but I
at that point like you need to be able to do vibrato
yes but it's interesting
now you're using the elements to get vibrato to help
a straight tone yes
right instead of the opposite
which is like maybe how you started
yeah it's that muscle memory of being like
(27:39):
like I know if I'm gonna hold a plank
my ABS are engaging
my glutes are engaging and I'm trying to be flat flat
yeah but if I'm like
have my posture and I'm like this and I'm like
then I just think about holding a plank
and I engage that way it adjusts everything
so it's like the reverse of like
well when you first learning to plank
it's like put your butt down
(27:59):
put your butt down yeah
don't lean back don't lean back okay
engage and then eventually
you can use that
muscle memory to assist you in other areas
I love that yes
you are just full of wisdom and good analogies
and opinions and opinions
but those opinions are always good ones
(28:19):
so I'll take it
I love it okay
I think that pretty much sums it up about Labrador
I think the biggest takeaway is
if you are a contemporary singer
it ain't that important it's not that deep
it's not that deep not that deep
it's not that deep quote by coach Emily
it's not that deep we're gonna put that on a
(28:41):
on a T-shirt not that deep
not that deep it's not that deep uh
it's not that important in contemporary singing
and vibrato comes from a release
yes essentially yeah
you're releasing yeah
start with release playing around
experiment with your voice
yeah and you'll get there yeah
there are people I've I worked with for of three years
two years they couldn't do vibrato
(29:02):
and then one day they're like
I was singing in my kitchen and it happened yeah
and then cause they weren't thinking about it yeah
it's like yeah
cause you weren't you were probably the most released
that you've ever been you weren't like yeah
I'm singing now yes
I thought we could do an episode on that
yeah very much so
oh my gosh sing the mind and singing is just
why are we sabotaging ourselves in every
(29:23):
we do it everywhere but it's so because our
our little itty bitty muscles are like okay fine
I'll give up yeah
it's like no no yeah
oh my goodness yeah
well this is super helpful
I'm learning stuff too thank you Emily
yeah of course
and you have now the mood setting of a brother
now I have the mood setting and the drama
I love it I love that
(29:43):
so fun I hope this was helpful
to everybody listening or watching
if you have any questions
shoot us a message on Instagram at Voxape Studios
if you want to work with us
you can book a session through the link below
we'd love to help you out with your voice
whether that's vibrato or anything else
really we're here to help as long as it's not classical
we don't do classical we don't do
but maybe Bree can help yeah
(30:03):
maybe Bree can help
but that's not really what we specialize in
so you know contemporary
we got you baby
Alrighty anyways
thank you coach Emily
thank you we'll catch you guys in the next episode bye
doing it acapella
(00:00):
I recommend and doing it smaller than a half step
so instead of ah
just ah
until you get there
it won't happen that fast if you don't have vibrato
yeah right this moment
and you try to do that
my No. 1 tip is
just pretend like you're a silly opera singer
(00:21):
yeah yes
get out of your head about it
yeah um
and just get into your body
yeah yeah it's like
hey Vox Star and welcome to from singer to artist
(00:44):
I'm Lara Chapman award winning singer and songwriter
turned viral vocal coach and the host of this show
at VoxTape Studios
we help singers from all over the world
level up their voices
by teaching them the three fundamental skills
all singers need technique
awareness and artistry whether you're looking to go pro
or just develop your voice for fun
my team and I are here to help
(01:06):
check the link in the description
to book your first session
or grab some of our other resources
Alrighty are you ready
let's get started
even if you don't want to be an opera singer
it's probably a good idea to work on your vibrato
a little bit
unlock it and control it and all of the above
and to talk about vibrato today
I have with me Emily from our team hello
(01:28):
hello thank you for being here
wow thanks for having me
of course of course anytime
thanks for being a coach
and thanks for being here in the studio
I love it yeah
so this uh
beautiful day we're going to be talking about vibrato
what is vibrato how do you do vibrato
when to do vibrato and the different kinds of vibrato
(01:49):
yes so
let's maybe first start with the definition of vibrato
what it is so I'll just make a sound for you yes
let's do it right vibrato is ah as opposed to ah
that would be classified as a straight tone
that second one so
vibrato is that vibrating sound
where we're alternating
(02:09):
technically between two pitches
but so close together that it doesn't sound like it
yeah it
you're just it's kind of like a shake in the voice
a little FL not do do all those well yeah
different kinds but anyways okay
I was gonna say like
like a flutter but but that's a kind of a rattle
that's a kind of a rattle yes
so that I just Learned about
I didn't know about that before
Emily literally just told me that I was like oh
(02:30):
I didn't know there's different kinds of vibrato
but anyways it's that shake in your
and so basically
it happens when you are sustaining a note
so when you're sustaining a note
like meaning like you're holding a note out
you basically have two options
you can either do straight tone
or you can add that shake
(02:51):
that vibrato in your voice to just give it that fuller
bigger kind of effect right
yeah yeah
it's um
it shows up a lot in classical music
and musical theater and I think it
it adds a little sparkle a little um
like you said rounding of the tone
uh huh
uh and it adds a little bit of pizazz
(03:13):
pizazz pizazz
makes the sound feel alive
yes so in classical music
it's everywhere on every single note
there's vibrato right
and then in musical theater
it's not on every single note
it's not on every single note it often goes
and then with vibrato
no doubt I totally
(03:34):
totally Learned that in musical theater school
I remember that
and I still use it sometimes in pop songs too
oh it shows up
yeah so we have musical theater right
and then also contemporary music
and in contemporary music
it's definitely not everywhere all the time
which makes it so interesting to me
that a lot of singers are obsessed
with learning vibrato yes
where I'm like actually
(03:57):
it's not that important yeah
you'll do just fine without it
yeah yes
yeah but of course vibrato
you know if you can do it
that's also kind of like a sign of
I don't wanna say like good technique
but like it can be viewed as that though
even if that's not the case on a technical level
yeah it can be viewed as like
oh they're a singer because they have vibrato
(04:19):
they have the thing that singers do
yes yes
and so in pop music it's still when I say pop
I just mean contemporary in general yeah right
that's country that's R&B
that's soul that's whatever right
yeah rock uh
and so anyways it's still there
but it's not nearly as common
so if you are a contemporary singer
(04:40):
just know that vibrato is not the end all be all yeah
and it's okay if it's currently not happening
that doesn't make you any less of a singer
but we're gonna teach you how to do it uh
and also I just wanna say this real quick
in musical theater school
because again like
if you heard me talk about my journey
in musical theater
(05:00):
like I never felt like I belonged in musical theater
and I I mean
I still don't but anyways
uh they called me the straight tone queen haha
in musical theater cause I could not do vibrato
interesting at all
until I went to musical theater school
where I Learned how to like
let go a little bit and not be so squeezy and so ugh
(05:24):
all the time I was still doing that
don't get me wrong but we were also singing like when I
and that's a little bit heavier
yes and so there
you know you can do like
it was much easier for me to do vibrato there yeah
but on a belt
like vibrato on a belt or a mixed belt or no chance
(05:45):
and it is much harder cause you're
I mean getting into to how it's made right
like it's a a belt is like a higher intensity
you have more pressure going on
yeah right
and to simplify um
and it's gonna be a lot harder
vibrato is a very tension release forward right
you gotta be super relaxed
(06:06):
that's not the case for everyone who has vibrato right
but often if you're struggling to find it
let's see are you dealing with some jaw tension
is your jaw grabbing is your tongue really tight
is your neck squeezing you know
all of those things check in with that
that's gonna help like
that sounds like that's how you unlocked your vibrato
mm hmm
and a lighter vocal production with more air flow
(06:29):
yeah yeah
more air flow uh
we're not going to like when I right
that's that's a little too much to get what we want
but instead of when I uh
right it then sounds a little bit more natural
(06:49):
and a little bit less force
exactly exactly
which is that also gets into like you can force vibrato
but that's the kind that and I never say things that
I never say that things sound bad
but that's the kind that sounds bad
that is not the aesthetically pleasing
or the thing that we listen for yeah
um when it comes to vibrato uh
(07:10):
I think that's also why it's a sign
like it's often viewed as a sign of good
technique because in order to do it right
you have air flowing and you're relaxed yeah
the tension's gone yeah
exactly
there's not too much compression in your vocal folds
all of the above exactly
but that it you can still have those things
and not be producing vibrato
there aren't there's not a lot of
there aren't a lot of studies on it
(07:30):
mm hmm can't study it on a living person
you know which is a big challenge
well we were talking about this yesterday
and I don't really know why
why can't we study this on a living person
we're talking
we're theorizing that maybe because of the
the view that we need from the camera
that it can't go in the way that scopes typically do
(07:53):
hmm
weird someone fact check me yeah
I don't know either
like we're just theorizing here at this point yeah
I just read
I was talking to you like I about I just read a study
it was like a case study
so it was only one or two people
and it was really just measuring air flow
versus vibrato um
or how how vibrato is made in regards to air flow
(08:16):
and it was like 17% more air flow was helping with
you needed for
you need 17% more airflow when you're doing vibrato
versus a straight tone
interesting for this this one mezzo soprano yeah
that's what that's how it was measured yeah
um
and what also came with that was a little more volume
(08:37):
so it wasn't pushing a little more loudness
it wasn't when I cause that takes a lot of
it's in head voice so it's not
it doesn't feel squeezy right
but it's taking a little bit more effort to get there
um
but
like you can do it
it's might be a little bit harder when I
(09:01):
that's the most natural for me
interesting
my brain is going in a million different places
all at the same time
can we talk about a couple tips to unlock vibrato
like if people are struggling
I would say
my No. 1 tip is just pretend like
you're a silly opera singer
(09:22):
yeah yes
get out of your head about it
yeah um
and just get into your body
yeah yeah it's like
oh
I just like
I love it well
we're another thing is
we're demonstrating all of our vibrato and head voice
right now you know
this morning or today um
(09:44):
which doesn't mean that it's exclusively limited to
but no no
no that you can
you gotta find your your key to the door
yes right
you gotta find your way in
I think head voice
because it is a lighter vocal production
well is
is a an easier key in yeah
yeah I usually do that with students
like if they're
if they're struggling to get into a vibrato
(10:05):
I'm like let's try it in head voice first
cause your head voice I I usually say this
like your chest voice is the source of power
your head voice is the source of flexibility
so if we are up in head voice
because it's we're more flexible
more agile it's easier for the vocal folds to kind of
go between the the pitches
yes to get you that shake in your voice
(10:29):
yes and that's another thing to practice
um well pitch
alternating pitches is not the end all
be all of learning vibrato
but if that's something you struggle with in general
it could be helpful so that would be like a
right
I would do that and then speed it up as fast as you can
yes yeah
um
(10:50):
also bouncing off that
doing it acapella
I recommend and doing it smaller than a half step
so instead of
ah
just ah
until you get there it
it won't happen that fast if you don't have vibrato
yeah right this moment and you try to do that
yeah I can't guarantee anything
(11:12):
but I can probably say yeah
99% sure that won't happen um
but just start with the alternating
start with the flexibility
start with the control of it all
um that's
that's my biggest tip oh
and just just try it
yeah try it
it's it's actually that it's so
(11:33):
sorry but
it's not that deep is something you always say yeah
it's not it's not that deep
you probably can do it yeah
just try it yeah
it's I feel like we're it always in the
in the voice community singer I
I think in the um early singer community
early to like intermediate singer community right
(11:54):
like there is an obsession with doing things right
I gotta do it right because there's so much out there
there's so much information out there yeah
which is that's great
we live in this time of like really accessible stuff
yeah but also just try it
trying to shake your voice
trying to do a little bit of
a little bit of vibrato is not gonna
(12:15):
like put you under you know
like you're gonna be just fine if it happens
or if it sounds bad to you or whatever
but just try it I've had people were like
we workshop we workshop and then I'm like
just try it yeah
and then they're like ha ha ha like what
what's your problem OK
so we didn't need to alternate first yes um yes
(12:36):
I mean you do that one time and then you start every
every other vibrato session with
why don't you try it first
yes yeah
oh my gosh but um
that's actually that's my biggest tip
just try it I
same goes for like everything for me pretty much
just get out of your head and just give it a shot
and don't judge yourself if it doesn't work
who cares how it sounds yeah
who cares we're just exploring yeah
(12:58):
that's how you become a great singer yes
by just trying and just exploring
and just going forward I
and failing a million times
fail forward fail forward
fail forward that's how
that's the key to harmony
doing it wrong and being like
that does not sound good haha
yes that
what I am doing does not mix
and then you adjust what you're doing I
I talk to my students all the time about
(13:19):
there are just so many little vocal stems
I do around the house I'll be like
ah ah
yeah or like
to the point where my girlfriend's like
I need like one minute hahaha
please please shut up
but I just I just like
always experimenting with my voice
consciously and subcon and like not
not consciously yeah
uh and I think that's what helps you grow as a singer
(13:42):
yeah 100% like
like you said just experimenting playing
we have we are gifted with this instrument
you know like might as well
for free for free
you don't even have to buy the instrument
it's a freaking guitar yeah
yeah yeah exactly
I love that okay
so we have imitate an opera singer
we have just try it just try it
(14:02):
bouncing back and forth between the notes
different notes increasing and decreasing your air flow
yep see
try it like with a ton of air
try it with no air after a
uh huh uh
it might be a little harder or that might be your key
find your again
find your key to unlock the door
yeah yeah
and that's like head voice right
(14:23):
like if it's higher in pitch
try that it's usually a little bit easier
but it's different for everybody
um try it in head voice uh
releasing tension so like releasing tension
if you like shake your head a little bit
shake your head not to go
but to shake your head to release the back of your neck
also keep your jaw still like
vibrato doesn't come from opening and closing your jaw
(14:45):
yes okay
it's it's a pitch alteration not a
manipulation of the vocal track
yes right
yes exactly
yeah we're not
we're not
because yes
you hear it you hear what that sounds like
but talking about movement and shaking
and keeping the jaw still
if you just shake your hand while you
(15:05):
while you do vibrato
like just somehow that physical connection helps
I think that there is some sort of kinetic
and maybe I'll do a study on it
yeah but there is
and I'm sure it has been done as well
but um
a kinesthetic connection between
what you do with your hands
and what your voice does you know
we were talking uh
(15:25):
about like pressing your hands together
the firmer you wanna get and then taking them apart I
there's something that is like
when I apply pressure here
it's telling my voice what I want it to do
yeah and I think it can be similar with that yeah
just like a little shaking
but like a not a
like super controlled kind of shake
but just kind of like just flapping around yeah
(15:45):
it's probably part of that release yeah
where it's like I'm releasing here
release here yeah
yeah just release yeah
I think that's that's a good
good way to put it release to like let the vibrato out
and that's why when you're like holding a note
like in musical theater right
where it's like straight tone
I think you even hear Whitney Houston do it sometimes
like
(16:07):
right yeah
it's straight and then into vibrato
it opens everywhere up yeah
right it
it gives you it gives you that release
yes and how you said earlier too
the vibrato like is is perceived like
like louder like yes
more powerful because of that release
yes and you can hear that
when you're going from straight tone into vibrato
it's just that it just opens up
yeah it does
(16:28):
even like
instead of when the rain is falling in your face
when the rain it's fine in your face
you know it doesn't have to be
I did a little extra there
but you can throw it in
just for that little extra color
oh yes
of course
it doesn't need to be the big powerful kind of a bravo
I OK
so this um
(16:49):
I guess
this kind of goes into the different kinds of a bravo
yeah so I
I okay
I made this up hahaha
so this is not science okay
I made this up
my two kinds of vibrato are the drama vibrato
and the mood setting vibrato
so the drama vibrato is the end I
(17:11):
right like on the big notes
you're going into vibrato there um
just to like add that extra power
like the extra drama that's the drama vibrato
and the mood setting vibrato is what you just did
in the like
right like it's
it's it's in the verse
it's softer and it's just kind of like softer yeah
(17:34):
it just
and it's like easy going right
so those are like my two kinds of Abrado
the mood setting and the drama of Abrado
I love that yeah
from like a stylistic point of view
cause
that mood setting is what you're gonna use in jazz hmm
right like
I and yes right
(17:56):
right since my man and I
right now we're taking it out of um
where the style you're singing comes from
oh oh oh
oh yeah yeah yeah
that opens up a whole thing
is it coming from western classical
or is it coming from early black American music
yeah um
(18:17):
that you know
keeps going back but like that mood setting vibrato
I would say sounds like it comes from those early
black American music styles yeah
and I could totally see that like the 40s
50s where it is it's very intentional in specific ways
uh even if it wasn't intentional for them
(18:38):
then if they were like this is what my voice does
mm hmm um
and I think that's
maybe that's why it feels so mood setting
because it's so just like
this is what my this is what my voice does
this is how I communicate yeah
Musically where the western classical is like
we are going to be perfect
we are going to be pretty yeah
and we're here to entertain you
which has its place as well yeah
(19:00):
um yeah
very interesting what are your
like you're
you're more sciency hahaha
so like what are the actual different kinds of vibrato
yeah not the ones that I made up
so yeah
so there's your like average air flow vibrato
that's your hey hey
that's how it sounds in my voice right
um then there is a wobble
(19:22):
which is a wider gap in pitches and a slower vibrato
that's often going to show up in older singers okay
that can also be adjusted
okay um
I would say with a little bit of tension release
no actually more tension release
yeah and um
and uh
a little bit more air flow and articulation practice
(19:44):
oh okay
um but that would sound like hey
hey
you hear how kind of like
da da da da
I have to do a little little compression
yeah to get that going
and the other kind is the faster vibrato
it's called flutter I'll demonstrate best I can
but a great example is Ben Platt
hmm hmm hmm waving waving
(20:05):
like it's super
super fast
and it doesn't mean when I first unlock my vibrato
it was super fast yeah
super fast yeah
so that goes into now
like manipulating the speed of your vibrato
is that possible
that's usually a question that I get in singing lessons
too yeah
and it is it totally is
it totally is
(20:25):
I think it's easier to speed it up than to slow it down
hmm um
but it it'll just take a little bit of practice
it's just practicing what you wanna do yeah
if again with uh
if you have
if you're working with wobble and you don't want wobble
yeah um
I really prioritize articulation work
especially in older singers um
(20:47):
getting the tongue moving separate from the jaw
all of that tongue release
jaw release
everything moving the head around um
for release and using a little bit more air flow
for flutter
I'll actually use a little bit less air flow
ooh okay'cause there's probably like
if you wanna do flutter
or if you wanna get out of flutter
(21:08):
if you wanna do flutter more
if you wanna get out of flutter less
so if you wanna do a faster vibrato
more air more air
if you wanna slow it down
a little less air a little less air OK
and I also find that to do flutter
it's easier to pull the volume back
if that's not what your natural vibrato is
mm hmm um
it's easier to pull the volume back and start there
(21:29):
yeah yeah
okay very cool
yeah again
for me personally
like even when I started voice lessons
like before I went to the musical theater school
I was taking voice lessons for seven years
and I went to school without a vibrato
so if you are currently frustrated
(21:49):
because you've been singing forever
and you still can't do vibrato
it's okay it's okay
like I couldn't do it either
and you just need to find the right combination yeah
it's like unlocking a like a lock
yes you know
it's like it's a little like oh
what exactly needs to work together
what's the combination right
(22:09):
get your foot in the door and then adjust it
so if you finally unlock your vibrato
and it's not the sound that you wanted to be
just stay there for a second
just stay in it for just a short amount of time
yeah and then eventually
the more comfortable you get with it right
don't
don't try to change it while it's still in process
unless it's physically uncomfortable obviously
(22:31):
well yeah
yeah that's not what we're going for
but um
just let your body learn like oh
this is safe for me to do yeah
I can do this yeah
it's also funny to see how sometimes like with
with students when I tell them like
just keep holding the note and try not to vibrato
and if it's not coming it doesn't matter
just keep holding the note and then at the very end
right as they're running out of breath it
(22:52):
it comes in and that's yeah
and that's why
you experiment with the amount of air that you use
because for some people you need more
and for some
you just need to take all the air out of it yeah
yeah to start yeah
it's it's interesting
every voice is different of course
but yeah I think we
we covered a lot of a lot of like
different things
that you can try to get that vibrato to come out
I just want to circle back real quick
(23:13):
to when to use vibrato particularly in
in songs that we talked about
like in the different genres yeah
and in contemporary
it's actually really not that much at all
like I do a lot of like style breakdowns yeah
where I talk about these are the tones that were used
and these were in the embellishments that were used
and in contemporary stuff
like very rarely am I like
(23:34):
and there's the vibrato like yeah
it's just like every so often it pops in
but not really not that often uh
I wanna talk about uh
when to use vibrato specifically in contemporary music
so pop rock country
soul R&B
funk all of the above right
yeah
um so when should or could singers
use vibrato without like going over the top
(23:55):
because then
you're gonna sound like a classical singer
or a musical theater singer
trying to sound pop yeah
and we don't want that right
I want you to sound like a contemporary singer
singing contemporary music
so what are some of your tips
yeah for when to use vibrato
so and when we're in a musical theater style
I think of a brado as like the bow on top
it's the last step it's typically the end of the phrase
(24:16):
this is generally right yeah
in contemporary music
the vibrato is not really in that spot like yes
Whitney Houston does it a little bit
Celine Dion will do it a little bit in those
in the drama vibrato of it all
yeah right
but in the mood setting vibrato
I I love those two terms
I'm totally grabbing them
I love it in the mood setting vibrato like don't know
(24:43):
right instead of don
yeah I'm putting it
I'm using it as a very specific sort of like do
do do do
do wind chime effect you know yes yes
why I'm doing I'm
(25:05):
it's part of the embellishment that I'm doing
it's not the only thing that's going on
yes yeah yes
it's for a very specific musical reason
yes yes yes
oh I love that
I think
my biggest tip for understanding when to use vibrato is
just listen to some of your favorite singers yeah
oh yeah
and see what they're doing
(25:26):
see what they're doing
you're gonna pick up on a pattern
yep and you're gonna see oh
it's not that much yeah
it's not that much yeah
that's my other thing
you think of your baseline in contemporary music
as straight tones yes
and then you add vibrato
100% where you want a little life
or you or you're like
this feels tone totally flat
(25:48):
not pitch flat yeah
yes yes
oh hold on OK
um two thoughts
two thoughts yeah
yeah one
like when you just said totally flat uh
actually sometimes I use vibrato to get me up there
to give me a little bit of that release
release an airflow yes
in that you know
like belty range where I'm like
cause I am just a chronic going flatter person
(26:12):
going flat personer whatever oh
I got something on yeah
yeah yeah
so uh
Kate and I coach Kate and I yeah
we're talking I said girl
what do you know about vibrato
because there's like not much out there
and she's like no
not much but there are some theories that uh
it's the the toggle between your uh
CT and your ta your cricothyroid head voice muscle
(26:34):
and your thyroid retinoid chest voice muscle yeah
and it's stimulated by the vagus nerve shoot okay
so cool sounds like
sounds like the the m buzzword
the mix word yeah
yeah yeah
yeah
and it sounds like when you were talking about that oh
it helps because it gives you a release intention or
yeah you need a release intention to get there um
(26:55):
you're using more air flow and you're mixing more yeah
because I know
cause you've talked about being a chronic
chronic chesty chesty
oh yeah yeah
chest puller upper
yeah yes
oh yes
it makes me more mixy
and so it lifts me all the way up to the pitch yeah
love love
so yeah I do that sometimes when I'm like
(27:17):
trying to belt a note and I'm like
I'm going under
add a little bit of a rattle to give me that
give me that lift but I
at that point like you need to be able to do vibrato
yes but it's interesting
now you're using the elements to get vibrato to help
a straight tone yes
right instead of the opposite
which is like maybe how you started
yeah it's that muscle memory of being like
(27:39):
like I know if I'm gonna hold a plank
my ABS are engaging
my glutes are engaging and I'm trying to be flat flat
yeah but if I'm like
have my posture and I'm like this and I'm like
then I just think about holding a plank
and I engage that way it adjusts everything
so it's like the reverse of like
well when you first learning to plank
it's like put your butt down
(27:59):
put your butt down yeah
don't lean back don't lean back okay
engage and then eventually
you can use that
muscle memory to assist you in other areas
I love that yes
you are just full of wisdom and good analogies
and opinions and opinions
but those opinions are always good ones
(28:19):
so I'll take it
I love it okay
I think that pretty much sums it up about Labrador
I think the biggest takeaway is
if you are a contemporary singer
it ain't that important it's not that deep
it's not that deep not that deep
it's not that deep quote by coach Emily
it's not that deep we're gonna put that on a
(28:41):
on a T-shirt not that deep
not that deep it's not that deep uh
it's not that important in contemporary singing
and vibrato comes from a release
yes essentially yeah
you're releasing yeah
start with release playing around
experiment with your voice
yeah and you'll get there yeah
there are people I've I worked with for of three years
two years they couldn't do vibrato
(29:02):
and then one day they're like
I was singing in my kitchen and it happened yeah
and then cause they weren't thinking about it yeah
it's like yeah
cause you weren't you were probably the most released
that you've ever been you weren't like yeah
I'm singing now yes
I thought we could do an episode on that
yeah very much so
oh my gosh sing the mind and singing is just
why are we sabotaging ourselves in every
(29:23):
we do it everywhere but it's so because our
our little itty bitty muscles are like okay fine
I'll give up yeah
it's like no no yeah
oh my goodness yeah
well this is super helpful
I'm learning stuff too thank you Emily
yeah of course
and you have now the mood setting of a brother
now I have the mood setting and the drama
I love it I love that
(29:43):
so fun I hope this was helpful
to everybody listening or watching
if you have any questions
shoot us a message on Instagram at Voxape Studios
if you want to work with us
you can book a session through the link below
we'd love to help you out with your voice
whether that's vibrato or anything else
really we're here to help as long as it's not classical
we don't do classical we don't do
but maybe Bree can help yeah
(30:03):
maybe Bree can help
but that's not really what we specialize in
so you know contemporary
we got you baby
Alrighty anyways
thank you coach Emily
thank you we'll catch you guys in the next episode bye
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