he first did jazz, then he did l'opera commique with vibrato. The DVD cant be found in stores, it is only availiable at the legendary saxophonist colection webstie @ - well the website is locked right now, but I will give you the guys email. [email protected] Ask for the mule dvd.

Back to the first post, that's interesting that Mule didn't model his vibrato from the violin. I know way back when I was studying classical sax in college, my teacher suggested I listen to violinists (Perlman, Heifitz) to develop vibrato which he compared to a wave that goes above and below the primary pitch. Often, vibrato is achieved by moving the jaw down and therefore only falls below and matches the primary pitch. He thought that was jazz vibrato (he was a classical saxophonist who didn't like jazz sax). I'm a jazz saxophonist, but I like classical sax, especially the very little bit of Mule I've heard. It does seem like an intense vibrato and definitely seems to have infuenced many classical players.

I am most interested in the discussion over Marcel Mules vibrato.Since I did study with him at the Conservatoire in Paris(no,I am not dead yet!) I have a little more perspective on the subject. It is my understanding that M.Mule studied all the great singers of the day and he concluded that all used vibrato at app.300 undulations per minute.The formula was to find your metronome speed,find a number that would multiply it to reach app. 300 undulations, and voila! He was very insistent on the correct number of undulations and would "clock" them with his pocket metronome in my lessons. As to the origins of his vibrato, I know that he heard many of the jazz players of the day, and was interested in adopting vibrato to his needs. The story is that he used vibrato in a performance at one of the theaters and a colleague of his from the Garde Republicaine band suggested he use it in the band as well.He gradually introduced it,at the pleasure of the conductor. In listening to M.M. play in my lessons, the sound was somewhat different than the recordings.The sound was incredibly beautiful and the vibrato not as pronounced as on the recordings. As to the comment about the vibrato being on the bottom side of the pitch-if the embouchure is set in a certain way, it is possible to vibrato ABOVE the pitch-I teach and play this way, bwecause I believe it gives the sound a more singing quality- Also, with this flxibility, you have the option of putting the vibrato anywhere you want it,allowing for more expressive playing.

George Etheridge is a genius not only in the field of saxophone, but also in all aspects of music. You will not find a more musical artist anywhere. Sound is a very subjective subject, especially when trying to decide best tones, best vibratos, etc. There are so many personal tastes and, as many things in life, a person's own history will influence those tastes. I am a disciple of George Etheridge and as such am biased to his thinking and his style of playing. I have taught band for 20 years and always refer my saxophone players to the so called 'mule' style of playing.

I have two favorite classical sax players. Boots Randolph and Saxman.........Kelsey