Klarinet Archive - Posting 000202.txt from 1998/06

From: "David C. Blumberg" <reedman@-----.com>
Subj: [kl] re:Double Tonguing
Date: Fri, 5 Jun 1998 07:44:02 -0400

The lack of crispness is due to the syllable being too broad. Try T,K - not
Ta , Ka nor Tu, Ku. The double tongue should sound as good, clear, crisp as
the single. Is Neidich's Double tonguing too legato? - no.

David Blumberg

Date: Fri, 5 Jun 1998 00:42:00 EDT
From: <KlarBoy@-----.com>
Subject: double tonguing
Hi Mario,
If you don't mind, explain your method of double tonguing to us.
Thanks,
Carl Schexnayder
Hmm, I'll try.
I started double tonguing almost by accident, while working on the Poulenc
Sonata as an undergrad. My pianist wanted to play the last movement extremely
fast, my biggest obstacle seemed to be the clarity of the articulated
sixteenth notes. The figure that occurs in the movement is an eight note
followed by two sixtheenths. The sixteeths occur on throat tones like Bb,
this actually facilitated my attempt, because they seemed to be easier to do.
I had been told to try using the syllables tu-ku tu-ku as opposed to ta-ka
like brass players of flutists.
Because the clarinet's harmonic series can be unstable, fluctuations in the
air-stream and embouchure motion are the greatest problems to double
tonguing.
The second or ricochet syllable needs to be soft and must not displace your
tongue postion to much. Try to practice articulating without your tongue
using just a ku-ku-ku articulation, then add the tu syllable. Start
practicing on the throat tones, as they are less resistant. It becomes much
more difficult when you cross the break and incressinglydifficult as you
proceed upwards.
What are the benefits, you might ask? Does it mean that the Mendelssohn
scherzo will become a piece of cake? No, I'm afraid it doesn't. As much as I
work on it, I can never seem to get the crispness of a great single-tongued
staccato, and I would never dream of trying it for an orchestral audition on
that particular excerpt. On the other hand, some pieces in the orchestral
rep. are just too fast for my single tongue: Bartered Bride and Galanta
Dances for starters. The overture to William Tell is a great piece to
practice double tonging.
Finally, I might add that the many variables in the shapes of our mouths and
the resistance of our set-ups will make double-tounguing easier for some and
nearly impossible for others. Similarly, some people can play the gliss in
the Gershwin, while others will stuggle with it.
Best of luck,
Mario

David Blumberg
reedman@-----.com
http://www.sneezy.org/clarinet/Music/Blumberg.html
http://www.sneezy.org/clarinet/Sponsors/

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