Vibrato practice pieces. Recommended easy songs that make it easier to get the hang of it.

Come, spring.Matsutōya Yumi

Yumi Matsutoya – Come, Spring

It’s Yumi Matsutoya’s 26th single, released on October 24, 1994.

It was the theme song for the NHK morning drama series of the same title.

Yumi Matsutoya is a singer known for her naturally vibrant vocal style, so it might be a bit difficult to sing exactly like her.

However, the way she shapes pitch changes in the long notes of the vocal melody can serve as valuable reference for expressive singing.

While her songs are closely associated with a very distinctive voice, be careful not to slip into mere impersonation—practice in a way that preserves your own style.

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Kei Takahata

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Let’s become a familyFukuyama Masaharu

Masaharu Fukuyama – Let’s Become a Family (Full ver.)

This is Masaharu Fukuyama’s 27th single, released on August 31, 2011.

It was used as the CM song for Recruit’s wedding information magazine Zexy and as the image song for TV Tokyo’s variety program “Kazoku ni Narou (Yo),” and it became a big hit.

In this song—especially in the chorus—Fukuyama showcases a vocal expression that uses vibrato to smoothly shift pitch over a broad time axis.

I think this approach to vibrato is relatively easy to understand even for beginners.

Be sure to listen closely to the finer details of each phrase and practice along.

If you focus on the long tones where the notes are sustained, you’ll find there’s a lot to learn!

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Kei Takahata

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moonlightOnitsuka Chihiro

Chihiro Onitsuka – Gekkou (Moonlight)

Chihiro Onitsuka’s second single, released on August 9, 2008.

It was selected as the theme song for the TV Asahi drama “TRICK,” and along with the drama’s success, the song also became a major hit.

It’s a fine medium-slow ballad with a simple arrangement centered on piano backing.

Within this song—whose vocal melody is built around broad, flowing lines—Onitsuka employs frequent vibrato, seemingly to connect each phrase legato, delivering a very smooth performance.

It feels like one of the best songs to practice how to apply vibrato and shape pitch transitions to organically link phrases within a wide, expansive melody.

In the latter half, as the backing performance intensifies, she also uses delicate, fine-grained vibrato to great effect, so it might be good to listen with attention to how the vocal expression changes across different parts of the song.

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Kei Takahata

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fragileEvery Little Thing

Every Little Thing / fragile

This is Every Little Thing’s 17th single, released on January 1, 2001.

It was also used as the theme song for the Fuji TV program “Ainori.” It’s a slow ballad built around a broad, sweeping melody, and I think it’s a great reference track for practicing vibrato by sustaining long notes and adding pitch oscillation.

Mochida’s vocals are overall very straightforward and unadorned, and the vocal melody doesn’t span a particularly wide range, making it an ideal practice piece for beginners who aren’t yet very accustomed to singing.

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Kei Takahata

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dogwood (flowering dogwood)Hitoto Yo

Hitoto Yo – Hanamizuki

This is Yo Hitoto’s fifth single, released on February 11, 2004.

It’s a slow ballad built around sweeping phrases, and from the very start—right after the intro ends and the vocals begin—you can enjoy singing that makes brilliant use of vibrato.

If you study how the melody navigates the big pitch changes in the chorus—the way notes connect before and after, and how the pitch transitions are shaped—you’ll surely gain a lot.

The contrast between the gently sung passages and the powerful delivery in the later choruses is also highly instructive as a model for changing vocal expression.

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Kei Takahata

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Close your eyesHirai Ken

Ken Hirai 'Close Your Eyes' MUSIC VIDEO

Ken Hirai’s 20th single, released on April 28, 2004.

It was written as the theme song for Toho’s film “Crying Out Love, in the Center of the World.” It’s a classic slow ballad.

From the whisper-like vocals in the intro to the dynamic singing in the chorus, this piece lets you fully enjoy Ken Hirai’s charm.

Regarding vibrato, which is the theme of this article, I’d like you to focus not only on the subtle nuances in the long tones, but also to practice and master the way the pitch shifts in the final phrase of the chorus—doing so will surely be a major breakthrough.

Also, try studying the contrast in expression between the powerfully sung parts and the gently sung parts.

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Kei Takahata

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