A Dictionary of Music and Musicians/Tremolo

TREMOLO. A figure consisting, in the case of bowed instruments, of reiterated notes played as rapidly as possible with up and down bow, expressed thus with the word tremolo or tremolando added (without which the passage would be played according to the rhythmical value of the notes), producing a very fine effect, if judiciously used, both in fortissimo and pianissimo passages. On the pianoforte it is a rapid alternation of the parts of divided chords, reproducing to a great extent the above-mentioned effect. Good examples of Tremolo are to be found in various branches of music—for the Piano in the Introduction to Weber's Solo Sonata in A♭, and in the Finale to Schubert's Rhapsodie Hongroise, where it gives the effect of the cymbalum or zither in the Hungarian bands; for the Piano and Violin, in the Introduction to Schubert's Phantasie in C (op. 159); for the Orchestra, in Weber's Overtures, and Schubert's Overture to Fierabras. For the PF. and Voice a good example is Schubert's song 'Am Meer.' Beethoven uses it in the Funeral March of the Solo Sonata, op. 26; in the Sonata Appassionata, and that in C minor, op. 111. The strictly classical PF. writers evidently did not consider tremolo without rhythm legitimate in original piano words—another example (if such were needed) of the purity with which they wrote. The tremolo on the PF. is therefore a reproduction of the effect of other instruments, as in Beethoven's Funeral March just mentioned. This, though written rhythmically, is, by common consent, played as a real tremolo, being clearly a representation of the roll of muffled drums. Some of the best of the Romantic school, as Weber and Schumann, have used the real Tremolo. Beethoven ends a droll note to Steiner^[1] on the dedication of the Sonata, op. 106, as follows:—

2. In vocal music the term is applied to the abuse of a means of expression or effect, legitimate if used only at the right time and place, and in the right way. It assumed the character of a vocal vice about forty years ago, and is supposed to have had its origin in the vibrato of Rubini, first assuming formidable proportions in France, and thence quickly spreading throughout the musical world.

The Vibrato and the Tremolo are almost equally reprehensible as mannerisms. Mannerisms express nothing but carelessness or self-sufficiency, and the constant tremolo and vibrato are therefore nauseous in the extreme. Their constant use as a means of expression is simply false, for if they are to represent a moral or physical state, it is that of extreme weakness or of a nervous agitation which must soon wear out the unfortunate victim of its influence. The tremolo is said to be frequently the result of forcing the voice. It may be so in some cases, but it is almost exclusively an acquired habit in this age of 'intensity.' It is a great mistake to say that it is never to be used, but it must only be so when the dramatic situation actually warrants or requires it. If its use is to be banished entirely from vocal music, then it should equally disappear from instrumental music, though, by the way, the instrumental tremolo is more nearly allied to the vocal vibrato. Indeed, what is called 'vibrato' on bowed instruments is what would be 'tremolo' in vocal music. [Vibrato.] What is it that produces its fine effect in instrumental music? In loud passages it expresses sometimes joy and exultation; in others, agitation or terror; in all cases, tension or emotion of some kind. In soft passages it has a beautifully weird and ethereal effect of half-light when not spun out. In vocal music it is to be used in the first-named situations. The human voice loses its steadiness in every-day life under the influence of joy, sorrow, eagerness, fear, rage, or despair, and as subjects for vocal treatment usually have their fair share of these emotions, we must expect to hear both the vibrato and the tremolo in their places, and are very much disappointed if we do not. Reason, judgment, and taste must be brought to bear with the same kind of philosophical and critical study by means of which an actor arrives at the full significance of his part, and it will be found that a big vocal piece like 'Ah perfido,' 'Infelice,' or 'Non più di fiori,' requires more psychological research than is generally supposed. Singers, and those of this country especially, are very little (in too many cases not at all) alive to the fact, that the moment singing is touched, we enter upon the region of the dramatic. In speaking generally of dramatic singing, the operatic or theatrical is understood. But the smallest ballad has its share of the dramatic, and if this were more widely felt, we should have better singing and a better use of the tremolo and vibrato, which can hardly fail to place themselves rightly if the import of the piece to be sung be rightly felt and understood. By tremolo is usually understood an undulation of the notes, that is to say, more or less quickly reiterated departure from true intonation. In some cases this has been cultivated (evidently) to such an extent as to be utterly ludicrous. Ferri, a baritone, who flourished about thirty-five years ago, gave four or five beats in the second, of a good quarter-tone, and this incessantly, and yet he possessed a strong voice and sustaining power to carry him well through his operas. But there is a thrill heard at times upon the voice which amounts to neither tremolo nor vibrato. If it is the result of pure emotion, occurring consequently only in the right place, its effect is very great.

The vibrato is an alternate partial extinction and re-enforcement of the note. This seems to have been a legitimate figure, used rhythmically, of the fioritura of the Farinelli and Caffarelli period, and it was introduced in modern times with wonderful effect by Jenny Lind in 'La Figlia del Reggimento.' In the midst of a flood of vocalisation these groups of notes occurred—

executed with the same brilliancy and precision as they would be on the pianoforte, thus—

[See Singing, iii. 496; also Vibrato.]

[ H. C. D. ]

1. See Thayer. iii. 501.