One of my blog readers asked me to talk about vibrato in orchestral instruments. Basically, in the woodwind section, flutes and oboes always use vibrato, clarinets never do, and bassoons go both ways. But within that broad generalization are an awful lot of shadings and subtleties. There are a million variables affecting the use of vibrato. Things I take into account include: the era of the piece, the composer’s country of origin, the tempo and emotional affect of the line, its tessitura and shape, the instrumentation, the dynamic, my own role in the ensemble, the acoustic of the hall, the capability of the reed du jour, and my own mood. Vibrato is primarily an expressive tool for solo instruments. (String sections use it heavily, but that’s a different animal.) We winds use it as an additional color to the sound, and as an intensifier. We use it to draw attention to our (often invisible) selves when our line needs to come to the fore....