Klarinet Archive - Posting 000128.txt from 1994/02

From: Tom Ascher <U15310@-----.EDU>
Subj: Pino excerpt ocr experiment
Date: Thu, 10 Feb 1994 21:27:36 -0500

Well, just out of curiosity, I scanned a few pages of Pino's text
relating to double tongueing and put it through the ocr translater.
Here are the results.....

THECLARINETAND CLARINET PLAYING

~propriate,ofcourse, but double tonguing is needed more often.
Forthisreason,if you have much greate~r ~difficulty ~widi the triple
tonguing,youshould forget all about it until you have practiced
on-th~ereeddouble tonguing for quite some time. Let several
monthspass,ifnecessary, between learning double and triple
tong~Lung.Forsome darinetis~ts, of course, ~triple tonguing will
presentnomoreproblems than double tonguing.
~finally,ifyouhave ~terrible difficulties coordinating the tongu-
ingtechniquewith your moving fingers, the cause of the trouble
willbe,almostinvariably, the tongue's moving far too quickly! it is
yourtonguethatis ahead, not your fingers that are ~@-----. Re-
memberthatyouhave ~fiterauy doubled the effective speed of
yourtonguetip.You must remind yourself that you have become
capableoftremendously fast tongue speeds, while the tongue
itselfshouldfeel lazy, relaxed, and slow. ~I had one s~tudent
whoseonlydifficulty with double tonguing, from the very
firstdayhetried it, was to slow it down enough so that his
speedcouldbemeasured on a metronome! After seve~ral ~ininures
ofexperimentation he fi~=ly slowed it down enough that,
whileheheldalong open G, ~I "clocked" his double tonguing
tempoatfourbeautifully tongued notes per beat at a metronome
markingof160.
~On-thereedmultiple tonguing, as I have described it, continues
topleasemeverymuch. ~I have now used it for several years and I
havetaughtitsuccessfully to players who have been interested in
learningit.~Ispent most of one summer ga~*tning a command of the
technique,andduring that time ~I never let it take up too much of
mypracticetimeat any one sitting. During the following fall, I felt
confidentenough to use on-th~ereed double tonguing during one
ofmysoloclarinet recitals. My ~naturally slow tongue need never
beaproblemagain, and that is ~gratifying!

THEPROCEDUREFOR LEARNING
ON~-THEREEDMULTIPLE TONGUING

PART1:
TheIntroduction to the Technique

Recordthemetronome markings at which you can ~single-
tonguerepeatedopen ~Gs both four to a beat and three to a beat.

Tonguingand~Articulation 97

Momentarilyputting the clarinet aside, simply sit in a good
playingposition and say the words ~"Tutde-utde-utde-urde" (etc.)
makingsurethatthe tongue remains low, relaxed, and wide across
themiddle;notpointed.
Takeuptheclarinet and single-tongue a few ~repetitions of open
Gagain,thistime at only a medium tempo. This is just to become
reacquaintedwith the reed, and to relax the tongue.
Beginafairlytong open G with a regular single-tongued stroke,
takingcaretopronounce it ~"Tuh" as in the first syllable of the
word"Tuttle."Do this a few times, totally relaxing the tongue
duringeachheldtone.
Beginanotheropen G with ~"Tuh" but this time finish the word
"Tuttle"by~remrning the tongue to the reed after ~"Tuh" in the
mannerof~"tte." This second stroke should carry the tip of the
tongueuppastthe tip of the reed to the roof of the mouth, and it
shouldleavethemiddle of the tongue relaxed and broad across
~thebottomofthe mouth.
Stayingretaxed, return the tip of the tongue to its resting ~posi-
donbypassingitdownward over the tip of the reed, pronouncing
the~syllable~"Uh."
Thetongueisnowready for another upward stroke, as in pro-
nouncinganother "tle,~" and to be brushed past the reed tip again
onitswaytowards the roof of the mouth.
Nowanotherdownward stroke, brushing past the reed tip
again,toreturnto the resting position in the bottom of the mouth.
Repeatthiswhole process, quicker but sd~il ~without extreme
speed;inotherwords, do a very relaxed, ~smooth, and even ~"Tut-
~tle-urde-Uh."ne last syllable could also be "Ah" if desired.
Removethereedand mouthpiece from the mouth and say
again,~"Tutde-utde-uttle-utde" (etc.).
Replacetheclarinet into the embouchure and do it again on the
openG,thistimeadding another stroke: ~"Tutde-uttle-utde-uttle-
~Uh."Stayrelaxed throughout, aim for evenness.
Keepprac~ticing this on open G until the double tonguing be-
ginstosoundlike very fast single tonguing, very smooth, even,
andhomogeneous. The tongue need not move quickly to achieve this
~gimilarity.
Atthispointyoushould stop practicing this technique. It is very
~importanttolet the tongue rest now. Normal ~practicing, using
onlytheusualsingle tonguing technique, ~maY be resumed.
~Fofiowthesa~me procedure again later at other practice sessions,
~sdUusingopenGonly, untit you are satisfied that the effect is a

9~8THECLARINET AND CLARINET PLAYING

good/one,andthat the ~up-and-down strokes sound identical to a
~listener.
Afteryouaresatisfied with the effect, record the metronome
markingatwhichyou can tongue four open ~Gs to the beat by
usingthisformof double tonguing. Compare this with your fastest
tempoforsingletonguing four notes to the beat. (Triple tonguing
comeslater.)

PARTII:
TheDevelo~=ment of Double Tonguing

Extendtheprocedure (a tong tone followed by ~"Tutde-utde-
~uttle-uttle-Uh," etc.) from open G to thumb F, low C, low F~,
thumbFagain,top-line F, fourth-space E, throat E, low E, low F
again,lowCagain, and finally thumb F again.
Afterdoingthatexercise on thumb F, do the following also on
thatnote:~"Tuh-cuttle-uttle-uttle-Uh" in the rhythm of-

Repeattheforegoing exercise, and then slur this passage:

Now,usingthedouble-tonguing technique, play the following
exercise:

Thenextstepisto repeat the last exercise, this time tonguing
everynotein~aff four measures rather than slurring the last two. In
thismanner,double tonguing has been accomplished while rapidly
changingpitches.
Nowdothefollowing two four-measure exercises (first, the one
containingaslurred scale; second, the same one played all

TonguingandArticulation 99

tongued)upawhole step, thus transposing them from F major to
Gmajor:

Transposealleight measures (the two exercises together have
becomeonelonger one) down to E pure minor in the lowest ~oc-
~taveoftheclarinet's range.
Nowtransposethe eight-measure exercise back to F major,
thentoGmajor,and then to E minor again. A rest for the tongue
~houldoccurhere; put off further practice of the technique until
~s
anotheroccasion.
Thenexttransposition of the eight-measure exercise is to G
majorinthesecond octave. In other words, play ~rhe exercise as it
isprintedabove, in the key of G, but take it up an octave.
Whensatisfiedwith that, next do it in F major down a whole
step,sothatitsrange begins on top-line F and ends on thumb F~.
Thenextstepisto transpose the same exercise into any or all
descendingone-octave major or minor scales, but avoid the range
aboveGontopofthe staff. Do this until crossing the "break"
downwardissatisfactory.
Havingbecomesatisfied with your execution of one-octave de-
scendingmajorand minor scales over the "break," double-tongue
the~followingexercise. In syllables this exercise would be pro-
nounced~"Tuh-tuttle-uttle-uttle-Uh, ~tuttle-uttle-uttle-Uh."
(Again,thelastsyllable could be "Ah" if that seems more natural.)

Double-tonguethis last exercise as slowly as possible and as fast
aspossible.Rest from this by throwing in an occasional run-
throughatamedium, comfortable tempo.
Transposeitnowup a step to G major, and then to G minor at
thesamepitch.For ~vadery, do a~R three forms of G ~minor.
Nowtransposeitup an octave to G minor beginning on the G
ontopofthestaff. In this manner you encounter double tonguing

THECLARINET AND CLARINET PLAYING

overthe"break"ascending. (Do not try that ~particular octave yet in
Gmajor.)Nowrest the ~Tongue.
Whenrested,orat a later practice session, transpose that exer-
cisedownastepto F major (not F minor yet). Make that work
satisfactorilyby employing the sa~me ~over-the-break principles
youhavealwaysused: Keep the fingers relaxed, the air flowing
smoothly,anduse as ~littleringer movement as possible. It will prob-
ablyhelptoputthe right hand down when ascending from B-flat
toC-natural~arthe "break."
Next,gobacktothe G scale up a step again, this time playing it
inmajor.Nowthe"break" will occur between A~-narural and ~B-
natural.Employthe same principles of smoothness and relaxation.
Afterthiscanbedone to good effect, transpose the ~satne exer-
cisetoanyanda~R major and minor scales for one octave, using the
rangeagainfromlow E up to no higher than G on top of the staff.
Continueexactly the same thing, but now extend the range of
thescaleexercise higher, going no higher than high ~C-nararai.
Nowtheexercisemust be reversed.~-

Takethisnewexercise up one octave.
Nowtakeitupanother octave, which ~wffl extend your ~double-
tonguingrangeto high F.
NowuponesteptoG major, which extends the ~double-tongu-
i~ngrangetohigh G.
Next,practicetwo- and three-octave major and minor scales,
fournotestothebeat, ~afl over the range of the clarinet. Begin
eachnewoctaveof the scales with this rhythm:

Doubletonguinghas now been ~accomplished over the entire
rangeoftheinstrument, since it will be quite easy now to extend it
evenbeyondhighG. You are now ready for the printed page.
ObtainacopyofReginald ~Kefl's Seventeen Staccato Studies (In-
ternationalMusic Company) and look at the first study. Disregard
thewordsatthetop of the page, which are directed toward single
tonguingonly.
Theentirestudyreiterates the ~"eighth-and-two-sixteenths"

TonguingandArticulation ~iox

rhythmicpattern. Practice the ~sandy first all slurred to become
completely~familiar with the notes.
Next,atacomfortable tempo, practice the piece using the usual
single~Tonguing. Do not bother to make much, if anything, of the
dynamicsinorder to concentrate on smoothly flowing air.
Whenyouarethoroughly familiar with the piece, completely dis-
regardthedynamics this time, and apply double tonguing to it in
thismanner:~"Tuh-mttle-Uh-ruttle-Uh," and so on. Maintain a
goodfortevolume throughout.
Ifyoufeel~musically and technically ready, you could try playing
thepieceobserving ~rhe dynamics now; however, it will be abso-
lutelynecessary to use continuous breath support as well as con-
centratedtongue control. Dynamic variation, executed simultane-
ouslywithdouble tonguing, will become easier to achieve later
on.

PARTIII:
HowtoPracticeDouble Tonguing
~On-thereeddouble tonguing should now be established. Pro-
ceedwiththe~Kell Study No. 2, one beat to the measure, after
practicingitfirst slurred and ~thea single-tongued, just as you ~pre-
paredNo.1~earlier.
Systematicpractice should proceed essentially as follows: First,
withametronome, find a comfortable tempo at which you can
double-tonguefour notes to a beat, and do the following exercise
atthattempo,using the metronome:

Nowsetthemetronome only one notch faster, and do the exer~-
~ciseagain.
Continuesetting the metronome one notch faster and repeating
theexerciseuntil you cannot double-tongue any faster on that
exercise.
Nowsetthemetronome one notch slower and repeat the exer~-
~cise.
Continue~serdng the metronome one notch slower and repeat-
~ingtheexercise. Soon you ~will be back to your starting point on
themetronome,but continue setting it one notch slower and re-
peatingtheexercise until your double tonguing cannot be slowed

THECLARINET AND CLARINET PLAYING

downanymore.By~following this procedure you will greatly ex-
tendthetemporange of your double tonguing.
Alsoextendyournew double tonguing to the solo literature for
clarinet.Trytonguing the long sixteenth-note passages in ~the fast
movementsoftheMozart Concerto and in the various solo pieces
ofWeber,forexample.
Whenthissortofthing happens in music:

youmustputthetongue "in gear" by single-tonguing the first note
(E)andbeginning the "Tuttles" on ~Ehe next notes (F and G).
Inadditiontousing the ~c=net's solo literature, applying dou-
bletong~uingtoother ~music will be profitable. Use more of the
~Kefl~Sandies,other studies, and ensemble music.

PARTIV:
TheDevelopmentof Triple Tonguing

Wemustfirstbecertain that on-th~ereed double tonguing is
comfortableforthe player before he attempts triple tonguing.
~Themorecomfortable the former, the easier the latter will be.
Intherhythmoftriplets (and without the ~c=ner in the mouth),
saythesyllables "Tuttle-tuh-tuttle-tuh-tuttle~-tuh-Tah." The
rhythmwouldbe:

Althoughtheprocess will be considerably shorter than it was for
doubletonguing(since the player has now developed facility with
"Tuttle"),wemust go back to using the open G. On the clarinet,
then,tongue~"Tutde-tuh-tuttle-tuh-Tah" etc. on open G in the
rhythmoftriplets.
Whenthetriplerhythm on repeated open ~Gs sounds smooth
enough,playthefollowing exercise several times using the sylla-
bles~"Tuttle-tuh-Tah":

TonguingandArticulation ~I03

Oncethatworks,extend it in the following manner, using "Tut~-
~tie-tuh-mtde-tuh-turtle-tuh-Tah":

Next,usingthesa~me syllabic pattern, extend it in this manner:

Now~adclatriplet to the beginning of the last exercise:

(etc.)
~w
Finally,addonemore beat at the beginning, making a complete
three-octave~descending F scale:

(etc.)

Afterthedescending three-octave F major scale sounds satisfac-
tory,doadescending three-octave G major scale, also in triplets,
ofcourse,andalso saying ~'Tuttle-tuh-tuttle-tuh," etc.
Next,triple-tongue this:

Nowdothesameexercise up an octave. It ~will include going
overthe"break," of course. Keep the air well supported and fast~-
moving.Forte!
Takethesameexercise up ~still another octave, and you will be
goingovertheupper register break. Fortissimo~!
Transposethatexercise to whatever major or minor key you
wish,andtowhatever range you wish. (Keep resting the tongue
whenevernecessary.)
Whenyoufeelready for the printed page, look at the Ke~U

THECLARINET AND CLARINET PLAYING

StudyNo.4andproceed with practicing it as you did other ~Kell
Studies:Firstslur it, then single-tongue it at a comfortable tempo.
Whenyouarethoroughly familiar with the music, speed it up a
bittoacomfortable tempo for triple tonguing. (Again, do not
worryaboutthedyna~mics yet.) Fortissimo~!

PARTV:
HOWtoPracticeTriple Tonguing

Continueapplying triple tonguing to the printed page. This
couldtaketheform of practicing ~Kell ~Srudy No. 7 in the usual
way:first,~allslurred; second, ~afl single-tongued; and third, at a
suitabletempofor triple tonguing.
Systematicpractice for triple tonguing should proceed the same
wayasitdidfordouble ~tonguing- Set the metronome at a com-
fortabletriple-tonguing tempo and play the following exercise
with~ir:

Nowsetthemetronome one notch faster and repeat the exer~-
c~ise.
Continuesetting the metronome one notch faster and repeating
theexerciseuntil you cannot triple-tongue any faster.
Afterreachingthe upper limit, set the metronome one notch
slowerandrepeat the exercise.
Continuesetting the metronome one notch slower and repeat-
ingtheexercise. Soon you will return to your original starting
point;however,continue setting the metronome slower and slower
untilthelowerlimit of practicable triple tonguing is reached.
Alsoextendyournew triple tonguing to ~orher pieces of ~c=inet
literaturewherever there are fast-tongued triplets. Change the
printedarticulation to suit your purpose. For exa~mple, No. 18 in
the~Jeanjean25Etudes begins with slurred, rapid triplets. Try re-
movingtheslurs, mentally, and triple-tongue this melody.
Whenthissortofthing happens in music:

Tong~WngandArticulation 10~5

youmustputthetongue "in gear" by beginning the passage with
"Tuttle"onEandF, and then triple-tongue the ~G-A-B with the
usual"Tuttle-tuh."

PARTVI:
HowtoPractice~Multiple Tonguing
in~AsymmetricarMeters
Afterfeelingcomfortable with your development of double and
tripleto~nguing, you may begin combining them in such meters as
5/8,7/8etc.Letus look at the ~Kell Study No. ~I 1 as an ~example.
Thefirstdecision which must be made about this 5/8 piece is
whetheritisin~"3 plus 2" or in ~"2 plus 3.- Let us say it is ~"2 plus 3 ."
Themultipletonguing syllables would then come out: ~"Tutde-
tuttle~-tuh."First slur the piece, then single-tongue ~aH of it, then
speeditupandmultiple-tongue it in ~"2 plus 3~" style.
Youmighttryreversing it next, and, ~calling it ~" 3 plus 2," tongue
itas~"Turde-tuh-tuttle," etc. However, this particular piece seems
betteras~"2plus 3."
Extendthisprinciple to other pieces, and other meters. 7/8, for
example,couldbe ~"3 plus 2 plus 2," tongued as ~"Tutde-tuh-tuttle-
~turtle,"etc.
~KeffSt~udyNo.13 is a special case, ~mbdng double and triple
tonguinginanewway. In the first measure, the first beat is:

tonguedas~"Tuttle-tuh-tuttle-ruh." The second beat is:

tonguedas~"Tuttle-utde-utde."

Tom Ascher Internet: u15310@-----.edu
University of Illinois at Chicago Phone: (312) 413-3665