Klarinet Archive - Posting 000206.txt from 1998/06

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] The "uvular tongue" and a gentle reminder
Date: Fri, 5 Jun 1998 11:01:05 -0400

Variations in tonguing for expressive purposes is one of the few things I
think I'm goodish at. Not many teachers seem to have any ideas on this.
Roger S.

On Fri, 5 Jun 1998, CmdrHerel wrote:

> Date: Fri, 5 Jun 1998 10:52:02 EDT
> From: CmdrHerel <CmdrHerel@-----.com>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] The "uvular tongue" and a gentle reminder
>
> In a message dated 98-06-05 07:41:24 EDT, hickling@-----.Net writes:
>
> << All it involves is starting a tone with a "kuh" instead of a
> "tee." That gives a clear, clean but gentle beginning to a tone. I often
> use it in preference to a "tongue tongue," especially in passages where one
> wants a smooth, quasi-legato feeling. It can never replace the normal
> tongueing technique, especially at up tempos, but it's a valuable part of a
> clarinetist's armament. >>
>
> Every time alternate tonging techniques are brought up on the list, my
> shoulders start to knot up...
>
> Not that these techniques are not valid! On the contrary, I have never felt
> that too much knowledge is a bad thing, and I myself fully enjoy some "stupid
> clarinet tricks" (which have some great applications and really are not stupid
> at all. I just use that term for fun.)
>
> The danger I want to warn about is to look for the magic cure to tonging in
> these techniques. I feel that double and triple tonging should be explored
> AFTER a player has fully exploited what can be done with a single tongue!
> (Insert about eight more exclamation points here.)
>
> The ability of the single tongue is all too often never developed to its full
> potential. So I offer a challenge:
>
> I DARE you to get your single tongue to sixteenth notes at 168 MINIMUM! Clean
> and clear and light and perfect!
>
> I DARE you to get your single tongue absolutely legato and breathtakingly
> light in the altissimo register! (And I mean altissimo up to A at least.)
> I'm working on this now, btw. :)
>
> Fully controlled at any dynamic, to whatever degree of shortness you require,
> and slow or fast like the wind.
>
> And THEN double tongue. Triple tongue. Flutter tongue. Do it all. I think
> I'm going to go practice now... :)
>
> Teri Herel
>
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>

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