Vibrato in Singing, Part 2: The Different Types of Vibrato
11/03/2026, last updated on 16/04/2026
In Part 1 of this series, we discovered that vibrato is a choice, not a must. Science calls it “a cultured or artistic fluctuation.” So far, so civilised.
But when singers and voice teachers start talking about the different kinds of vibrato, the terminology gets… creative.
Classical voice pedagogy, contemporary commercial voice training, Complete Vocal Technique, and teachers like Lisa Popeil all describe different kinds of vibrato. Sometimes they even use different names for similar effects.
Confusing? A little.
But here is the key thing to remember: these terms do not necessarily refer to completely different physiological mechanisms. Often they simply describe different audible results, created by slightly different coordinations of the vocal system.
In this article I will walk you through some of the most commonly described vibrato types.
This series of blogposts is a summary of one of last year’s Ask-Me-Anything webinars, in which voice teacher Dana brought a question on vibrato.
If you want to hear all these vibrato types demonstrated live – complete with my impressions of Edith Piaf and a slightly dubious giggle – you can watch the full recording in The singsing! Sofa Library!
What Is Laryngeal Vibrato?
Laryngeal vibrato is what most people think of when they hear the word vibrato. It is the classic oscillating pitch that we associate with many trained singers.
It is created by an up- and downward movement of the larynx combined with subtle changes in vocal fold tension, resulting in a variation in pitch.
- The rate is often relatively slow and the pitch extent relatively broad, but both should remain within the ranges discussed in Part 1 so the listener does not perceive anything as “off”.
- In many classical voices the vibrato is “larger” than a rock or pop vibrato.
- When the structures around the larynx are very relaxed, the laryngeal vibrato can sometimes be accompanied by visible movements of the tongue, the jaw and occasionally even the head. This does not automatically mean the technique is wrong! Many world class singers do this.
Artists known for laryngeal vibrato:
Birgit Nilsson
, Bonnie Raitt
, The Carpenters
, Elvis Presley
, Dietrich Fischer-Dieskau
, Jessica Harper
, Joni Mitchell
, King Diamond
, Liza Minnelli
, Nicolai Gedda
, Ronnie James Dio
, Sebastian Bach (Skid Row),…
“Che farò senza Euridice” by Janet Baker (from Christoph Willibald Gluck’s “Orfeo ed Euridice”)
Hammer Vibrato (Trillo): The Giggle Vibrato
Hammer vibrato sounds very different.
Instead of a smooth pitch oscillation, the singer produces a rapid repetition of the same pitch by creating a fast sequence of glottal attacks.
It can sound a bit like giggling, a goat/sheep bleat , or a machine gun.
- Hammer vibrato involves rapid activity of the laryngeal adductor muscles, including the lateral cricoarytenoid muscles which help bring the vocal folds together.
- It is commonly heard in traditional and folk singing styles, including Arab classical music, flamenco, and other folk traditions around the world.
- It is also often used as the basis for very fast ornamentation.
Artists known for hammer vibrato:
Edith Piaf , Charles Aznavour , Anohni , Beth Hart , Buffy Sainte Marie , Cher , Eartha Kitt , John Denver , Randy Crawford , Robin Gibb
“Hope There’s Someone” by Anohni & The Johnsons
Amplitude Vibrato: When Volume Oscillates Instead of Pitch
Here, the pitch stays stable, but the volume fluctuates.
The sound appears to undulate even though the pitch does not change.
- This type of vibrato is usually produced through dynamic changes in breath pressure.
- Small impulses in the abdominal muscles cause fluctuations in airflow , resulting in fluctuations in sound intensity .
Artists known for amplitude vibrato:
Aaron Neville, The Bee Gees
“How Deep Is Your Love” by The Bee Gees
Terminal Vibrato: Straight Tone First, Vibrato at the End
The singer starts the note with straight tone and adds vibrato only at the end of the note.
- This is extremely common in contemporary genres.
- Classical singers often begin the note with vibrato from the start, though this varies considerably between singers and musical periods. Rock and pop singers often begin a note with a straight tone and then shift to terminal vibrato as an expressive release.
“I Will Always Love You” by Whitney Houston
- “You” at 1:01
- “And I” at 1:47
- “You” 2:03
- And so much more!
Warble or Tremolo: When Vibrato Gets Too Fast
Sometimes vibrato becomes very fast. When the oscillation rate rises above about 8 Hz, the sound can feel nervous, unstable or tight .
- Some pedagogues associate this with excessive muscular tension.
- In the studio, I often see performance anxiety contribute to an unwanted warble.
- On the other hand, some stories require the singer to sound nervous, unstable or tight and if a singer deliberately chooses it as an expressive effect, who am I to complain or judge? Edith, anyone?
“Non, Je ne regrette rien” by Edith Piaf
Funnily enough, she mentions a tremolo in this song 😉
Balayé les amours avec leurs trémolos…
The Wobble: When Vibrato Gets Too Slow and Wide
At the other extreme we find this slow , wide vibrato.
- A rate below about 4 oscillations per second, sometimes as low as 2 Hz; and an extent that can exceed a whole tone.
- The oscillations are often irregular.
- If a wobble is unwanted by the singer, possible causes are technical imbalance and / or aging.
- Important factors are ossification of the cricothyroid joint and weakness of laryngeal muscles, which can occur with aging.
- Weak abdominal muscles may also contribute, since stable breath management helps regulate vibrato rate.
“My way” by La Esterella
- “My way” at 0:55, 01:39, 2:09, 2:53 and 3:54
La Esterella once had a smooth, balanced vibrato. In this recording, she often shortens words instead of sustaining them, to avoid a wobble.
In my opinion this shows admirable artistry and craftsmanship. She chooses the musical path that best serves the song with the instrument she has at that moment in her life.
Coming up:
Now that you understand what vibrato is and which types exist, the next logical question is:
How do you actually develop and / or control your vibrato?
In Part 3 of this blog series I will share:
- What current voice science says about vibrato training
- Practical exercises
- Strategies to help vibrato emerge naturally
- What to do when your vibrato doesn’t sound the way you want it to
This is Part 2 of a 5-part series on vibrato in singing:
- Part 1: What It Is, How It Works, and What Science Says
- Part 2: Different Types of Vibrato (you are here!)
- Part 3: How to Develop Your Vibrato
- Part 4: Troubleshooting the Wobble
- Part 5: Fixing a Fast Vibrato, and the Power of Stacking
Missed Part 1? Skipping ahead to Part 3? No judgement. But if you want the whole picture: demonstrations, live Q&A and the kind of vocal nerding that only works on camera…
The original AMA recording lives in The singsing! Sofa Library. It sits alongside 50+ other webinars covering topics from resonance to riffs, breath management to stage fright.
Over 70 hours at the time of publication, new sessions every month, and yes, you can rewind my Piaf impression as many times as you like.
Susanne Vahle - Vocational singer
Ariane De Dom, Avocational singer
Bec Tilley, Voice Coach & Singer
This session was a great add-on to my voice lessons with Sarah!
M.J. Johnson - Singer & Voice teacher
Susanne Vahle - Vocational singer
Ariane De Dom, Avocational singer
Frequently Asked Questions About Types of Vibrato
What is the difference between vibrato and tremolo?
Vibrato is a regular, controlled oscillation of pitch (and often volume and timbre). Tremolo typically refers to a very fast oscillation (above about 8 Hz) that can sound nervous or unstable. In everyday language the terms are sometimes used interchangeably, but in voice science they describe different things.
What is hammer vibrato?
Hammer vibrato (also called trillo) is created by rapid glottal attacks: quick on-off pulses of the vocal folds on the same pitch. It sounds a bit like a contained giggle or a sheep’s bleat, and is common in flamenco, Arabic classical singing, and French chanson.
Is a wobble a sign of bad technique?
Not necessarily. A wobble (slow, wide vibrato) can result from aging, muscular fatigue, or technical imbalance, but it can also be a deliberate artistic choice. If it is unwanted, there are effective strategies to address it, which are covered in Part 4 of this series.
RESOURCES:
- The Role of Vibrato in Group Singing: A Systematic Review by Helena Daffern (2025)
- Operatic voices engage the default mode network in professional opera singers by Adél Bihari, Ádám Nárai, Boris Kleber, Judit Zsuga, Petra Hermann & Zoltán Vidnyánszky (2024)
- A Longitudinal Study of Vocal Functionality and Longevity in the Mature Female Singer by Rebecca Moseley-Morgan (2024)
- Lecture “The Art and Mechanism of Vibrato” at PEVOC 2024 in Santander (ES) by Lisa Popeil
- Complexity of Vocal Vibrato in Opera and Jazz Recordings: Insights From Entropy and Recurrence Analyses by Helena Daffern (2023)
- What Garcia Got Right: Understanding Cortical Signaling of the Glottis by Heidi Moss Erickson (2023)
- Vocal Learning and Songbirds: An Evolutionary Tale by Heidi Moss Erickson (2022)
- Enhancing Vocal Performance through Body Movements and Gestures as External Foci of Attention by Sebastian Brand (2021)
- Presbyphonia by D’Alatri et al. (2018)
- Blend in Singing Ensemble Performance: Vibrato Production in a Vocal Quartet by Helena Daffern (2017)
- Vibrato Rate and Extent in College Music Majors: A Multicenter Study by Nix, Perna, James & Allen (2016)
- When the brain plays music: auditory–motor interactions in music perception and production by Robert J. Zatorre, Joyce L. Chen & Virginia B. Penhune (2007)
- Video Controlling Vibrato Speed by Lisa Popeil (2001)
- Learned birdsong and the neurobiology of human language by Erich D. Jarvis (2004)
- Birdsong and human speech: common themes and mechanisms by Allison J. Doupe & Patricia K. Kuhl (1999)
- NCVS – National Center for Voice and Speech
- Complete Vocal Institute
- “Minding the Gap: Connecting Research from Neuroscience to Vocal Pedagogy” — Heidi Moss Erickson’s ongoing column in the Journal of Singing (NATS)
- Joanna Cazden, Kenneth Bozeman, Kim Chandler, Henrietta Carter (contributions from Voice Geek Group, Facebook community for voice professionals)
As always, feel free to send me your thoughts, questions, and feedback in the comments below this blog, via the contact form or in the singsing! online community 
Cordially,
Sarah