Klarinet Archive - Posting 000216.txt from 1999/11

From: David Glenn <notestaff@-----.de>
Subj: [kl] How you should double tongue
Date: Sat, 6 Nov 1999 09:39:14 -0500

Tony Pay wrote:

> In order to learn to double tongue with any degree of effectiveness, it
> is absolutely essential to concentrate on how you *stop* the sound.
> There is no other way.
>
> The two elements must be 'uk' and 'ud', rather than 'ku' and 'du'. To
> look at the situation like this is the only way to experience clearly
> that the two actions are very different, the one associated with 'k'
> needing to stop the airstream, whilst the one associated with 'd'
> needing simply to touch the reed in order to interrupt its vibration.
> This second touch must fundamentally be very light, but may be more firm
> in the lower register, as in single tonguing.
>
> You cannot notice this if you practise du-ku-du-ku vocally, where both
> actions stop the airstream, and are of almost equivalent strength. Then
> it's impossible to transfer to the clarinet.
>
> You'll use the consonants I've chosen rather than the usual ones, if
> you've any sense at all.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
> ... If the shoe fits, put it in your mouth.
>
> ---------------------------------------------------------------------

+++++++++++++++++++++++++++++++++++++++++++++

Tony, do you think of all these tag lines spontaneously? They are such a
riot!

I found "di-ka" to work better for me, especially in the upper register up to
about G. Above that, I use something like "lithelithel..." With "du-ku", I
have pitch problems. What might I be doing wrong in that case?

Of course, now I will be thinking about doing "ik-ad" instead and trying it
out. Thanks for the hint. It was already very useful with single tonguing.
I'm not sure that it is the *only* way as you say to learn to double tongue
effectively but it will sure be interesting to try it out!

David

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