Klarinet Archive - Posting 000738.txt from 1996/02

From: "Ronald E. Bowers" <ronbower@-----.COM>
Subj: Re: curiosity
Date: Sat, 24 Feb 1996 21:31:56 -0500

"bubbling" effect coming up the scale in other music. I find it harder
to do going down a scale.
My single tongue is hard to keep up to 16ths at quarter note@-----.
This seems to be the rate needed for the Mozart CL Conc. I do admire
the professioals who go faster and PRESUME they are single tonguing,
since the air flow seems to stop--but I don't know.
The inertia of the air stream/reed complex to starting oscillation
must limit speed at some point, but are we stuck with a maximum
inherited tonque speed below this?

You wrote:
>
>> You wrote:
>>
>> <<Hello everyone! Just out of curiosity, how many of you can double
tongue
>> and/or triple tongue... Thanks for your time and efforts
>>
>> Danielle>>
>> ---------------------------------
>
>On Thu, 22 Feb 1996, John Roman wrote:
>>
>> I've only got one tongue but it works just fine! :)
>
>(snip)
>>
>> I'm also not sure that I can tell when someone else is double or
triple
>> tongueing on a clarinet. I'd be interested to know how many members
of this
>> list can discern a difference and how many think of double tongueing
as a
>> necessary tool for an accomplished clarinetist.
>
>One of the aspects of double tonguing that I find sort of annoying is
the
>"showoff" aspect of many players who *can* do it. The whole point is
that
>it should be a technique that is invisible - one shouldn't be able to
>tell when a player is single or double or triple tonguing. No
>self-respecting flutist or double reed player would want listeners to
be
>able to identify whether they're using double or triple tonguing.
>
>I personally think it's a legitimate tool, and we should learn to do
it.
>Robert Spring's exercises have been on my stack of musical projects
since
>I first heard him explain the process and do it in 1988. So far I
haven't
>had an urgent need to learn the technique, but it does interest me,
and I
>think it's important.
>
>> I think that the reason I've hesitated to investigate this area as
it relates
>> to my own playing is my belief in the old adage, "If it works, don't
fix it".
>> I'm afraid that if I start to think too much about what I'm doing
and how
>> I'm doing it, the clean and relatively rapid single tongue which I
can
>> usually count on, may take a hike for good. Any thoughts?
>
>I've heard of players on other instruments having trouble defining the
>area where single tonguing leaves off, and double tonguing takes over.
>According to those who do this technique, (I'm married to a flutist,
and
>sit next to a good bassoonist who double tongues) one needs to overlap
>the speeds for both techniques, so that you can shift from one to the
>other on the fly without any audible evidence. I think the chances of
>losing one's ability to single tongue are just about nil.
>
>So maybe I'll work on it *this* summer!
>
>David Niethamer
>