"Cheek" Vibrato, a la Baker

[Meredith]

Among other things, I'm currently working on shifting my vibrato up into my right cheek. The process is slow going, painful, and the resultant "unevenness" in my embrochure (b/c the right side of my lips are puffed out) is making my tone edgy.

Can anyone on the board offer advice? This is driving me nuts!

[flutepicc06]

Personally, I would not suggest going for a cheek vibrato. You generally want to keep the airstream as free from turbulence as possible as it moves from the lungs to the flute, and pushing the air into the cheek to achieve vibrato introduces the teeth into the air stream in two instances. All this aside from destabilizing your embouchure. This seems to me like a technique that is not necessary, but could be applied in the right instances (much like circular breathing). Personally I would advise to use the time you've spent trying to learn a cheek vibrato on other facets of playing.

[fluteguy18]

Yes. good point My previous teacher had a very loose embouchure. So, loose that when she used a wide vibrato, her cheek puffed in and out. So, it looked like she was using a cheek vibrato, when in fact she just had a very loose embouchure. This might be what you are seeing people do. I have never heard of someone using thier cheek to do vibrato.

I know sometimes if I am using a huge vibrato, my cheek will sometimes do that, but not normally.

[fluttiegurl]

If it hurts and is not producing results, don't do it. I agree, cheek vib is not the best option. Is this happening under the guidance of a private teacher? If so, consult with him/her and make sure that you are clear on what he/she is trying to convey to you.

[Meredith]

I'm clear on what my teacher is trying to convey, and I do think that for me, personally, this is the right way to go. The problem is that I'm "getting" it during my flute lessons, and "losing it" during the two weeks of practice that intervene bwn. each lesson.

[Meredith]

My teacher gave me an exercise to do today that seems to be helping my transition, so all's well for the moment.

The exercise is kind of long to write out. If there is any interest, please ask and I'll give it over.

[flutepicc06]

I'd be interested to know more, if it's not too much trouble.

[fluteguy18]

yes, if it isnt too much trouble....

[briolette]

I'd like to know more as well. To be honest, I'm quite unfamiliar with the usage of one's cheeks for vibrato.

[apleasuretoburn]

The only thing that I've heard that is kind of similar to this cheek vibrato idea is sort of the idea of a higher vibrato used in conjunction with more air in the right cheek. I sometimes do that because the air in the cheek allows for a more open sound and more loose and flexible embouchure, and because the vibrato is faster and more centralized in the throat it almost feels like it's coming from the cheek. My flute instructor is into a lot of different, "whatever works" methods of sound production, so we've been experimenting with different things like this. Is that anything close to what you're talking about?

[Meredith]

Sorry for not getting back to people sooner -- I haven't checked the board in a few weeks. I'll do my best to post the exercise tomorrow.

[dalghakk]

In fact that is not cheek vibrato i think !! the vibrato is from somewheere else may be from diaphragm or somewhere around your lungs ! but if you leave your face free and dont strech your cheeks the air would gather in them and along vibratos they would shake somehow !Exept lips somehow to control the voice and air leaving the cheeks and whole face free will help you to concentrate the air in your mouth in different places in front of your mouth or in depth of your mouth and it will help you making different octaves and crasendos and decrasedos with best quality And after that if you let the air gather behind your lips you will have brilliant and nice and warm vibratos in third octave !!! i think thats the way it is Any Ideas ?

[sidekicker]

Not worth it, Meredith. I'm not sure what your teacher is trying to do either. But if whatever you're doing is not sticking with you, then it sounds like that technique for vibrato is not appropriate for you. Flutepicc is right: cheek vibrato tends to destabilize the embouchure. So why trade one concern in (changing vibrato) and create another (messing up your embouchure)?

There are far more other things you can be doing with your time that will make you a better flutist. Again, maybe you can give us a better run down on this "exercise" your teacher is having you do. I may have missed it, but I don't recall it being posted. But, it's the holidays, too -- so I think everyone here understands late posts .

SK

[Brooke]

My teacher was a student of Baker, and the technique she taught me was not quite cheek vibrato, but there was a similar idea to it. It is difficult to explain without demonstrating, but the vibrato still comes from the diaphragm and the cheeks are very loose. This is something that most student players don't do naturally. I don't know if you can blow out so your cheeks vibrate, sounding like a horse... it is a little like that feeling, but when you play your cheeks don't move. Basically, don't flex the muscles in your cheeks at all. They end up puffing out a little with the air, but you shouldn't be consciously puffing them out. It works beautifully!

[gotflute]

The cheeks do not cause the vibrato; rather, they are just so relaxed that they oscillate along with the airstream. The idea is to use the vocal cavity (the inside of your mouth) to create more resonance. This will lead you to more flexible playing.

So, Meredith, don't worry so much about how the embouchure looks or feels. Think of how it sounds. Also, realize that the first sounds you make during the day will probably sounds kinda airy and unfoced with this new relaxed embouchure-- this is becuase you have been getting most of your focus from your whole face, instead of the muscles around the lips. Just blow through it, do your favorite long tone exercise with lots of quick vibrato, and let the tone develop.

Cheers,