Klarinet Archive - Posting 000295.txt from 1995/06

From: Andrew Grenci <AGrenci@-----.COM>
Subj: Re: Double tonguing
Date: Thu, 15 Jun 1995 07:26:57 -0400

Clark et al:

I have by no means mastered double tounging, but have worked on it somewhat,
and am able to occassionally, but seldom, put it to use in performance. My
limited experience yields the following thoughts on your two problem areas.

1) Coordination of finger motion with double tounging. If you are used to the
"prepared finger" style of staccato, you may run into difficulty applying
this do double tounging. Try to coordinate the finger motion precisely with
the articulation instead. This may be hard to do if the "prepared finger"
method is a deeply ingrained habit, but will yield positive results.

2) My problem with double tounging has always been that the oddity of the
articulation cause me to have an unstable jaw position and unstable breath
support. This is a deadly combinition when crossing the break. Perhaps
practice VERY SLOW double tounging across the break with special attention to
keeping the embouchure and breath support as steady as if you were playing a
slur.

Hope this helps. AND I look forward to reading the suggestions of others.

Andy

Andrew Grenci
agrenci@-----.com