Klarinet Archive - Posting 000274.txt from 1995/06

From: Neil Leupold <Neil_Leupold@-----.COM>
Subj: RE>Double tonguing
Date: Wed, 14 Jun 1995 14:07:12 -0400

ntouch Memo 06/14/95
Subject:RE>Double tonguing 10:34 AM
Clark, you wrote:

"I can approach a fairly rapid pace on one note, but I have trouble
coordinating with the fingers and particularly crossing the break. ANY AND ALL
IDEAS ARE WELCOME AT THIS POINT!!!"

If you're using the old "too-koo" syllable method, I can see where the
frustration arises. I assume you're familiar with Pino's book, wherein he
describes his feather- (or brush-) -stroke method. As controversial as some of
Pino's ideas may be, this one in particular seems well worth the time and
effort in experimentation. He does actually state that his students manifest
remarkable success, wherein the syllable "tuttle" instead of "too-koo" is
employed. When you say "tuttle", there is no obstruction of the tongue by
itself, whereas "too-koo" creates an immmediate inhibition of the tongue's
motion between the _middle_ of the tongue and the roof of your mouth. In
concept, the "too-koo" method seems like an "artificial" form of tonguing,
because the stoppage of sound occurs somewhere other than between the the tip
of the tongue and the tip of the reed. It's more or less an intermittent
interruption of the air stream, to which I take exception. On the other hand,
Pino's idea is very well in accordance with the old "tip of the tongue to the
tip of the reed" maxim that we were all taught when first learning how to
articulate.

With "tuttle" (or perhaps "duddle"), notice that only the TIP of the tongue is
in motion, wherein upon the first syllable ("Tuh") the tip of the tongue
automatically moves in a downward motion and then, upon the 2nd syllable
("Tull"), the tip of the tonuge moves upward. Imagine the facility that would
be available to you if you could refine that technique by harnessing that
built-in up-down motion with a contact of the tongue's tip to the tip of the
reed. I think perhaps it's important to develop one's single-tongue technique
as completely as possible - learning to relax the tongue as naturally as
possible - prior to beginning practice on Pino's idea (you've got a good
single-tongue already, so I'd "go for it" right away if I were you). Before I
dropped out of the music scene, I began practicing Pino's method and was making
some progress. I believe that I would have developed an excellent command if I
had continued to practice it. When the time comes, I'll certainly try again.

You just know Dave Neuman is doing something like this.

- Neil