 The Clarinet BBoard
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Author: NB
Date: 2015-04-12 22:50
>So, who's the player?
M-m-m... Ken Shaw?
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Author: derf5585
Date: 2015-04-12 23:04
Why are there a bunch of numbers in the score?
fsbsde@yahoo.com
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Author: Paul Aviles
Date: 2015-04-13 03:58
The numbers (and notes for that matter.....not what was played range wise) are violin notations.
............Paul Aviles
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Author: Philip Caron
Date: 2015-04-13 04:50
This leads me to a question about double (or multi) tonguing. I notice in this performance that full articulation is mostly limited to below the break. Above the break I hear slurs intermixed - sometimes 2 and 2, maybe sometimes 2 and 4. I think there's also a couple longer sequences all tongued, though they lead into a ritard - but below the break it's all staccato.
I've noticed the same thing in some of Martin Frost's recordings. His amazing fast tonguing is seemingly always below the break, with passages above the break being partly or fully slurred.
Is this an artifact of multi-tonguing, whereby it's harder (or impossible) to do it as fast or well in the clarion or higher registers, compared to chalumeu and lower registers?
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Author: DavidBlumberg
Date: 2015-04-13 14:52
Double tonguing is typically limited to the Clarion G for 95% of players. Above that, they have a very hard time.
Lightning quick tonguing is possible all the way up to the limits of the player though. I'll dig up a recording.
http://www.SkypeClarinetLessons.com
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Author: Paul Aviles
Date: 2015-04-13 14:55
I cannot speak to the Martin Frosts of the world, but as I play higher on the clarinet, the part of the reed that vibrates gets smaller. Consequently the response to the air (and any interruptions of air) become more sensitive the higher I go. I have yet to be able to double tongue successfully in the altissimo and quite frankly the last bit of the clarion can be somewhat hit or miss.
So I'd say the better you are, and the harder you work to achieve this technique, the better it gets throughout the range, but it is harder the higher you go.
................Paul Aviles
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Author: Philip Caron
Date: 2015-04-13 18:11
Thank you David, very impressive. My computer actually managed that webpage without crashing, but I fell out of my chair. Are you there using the "side-to-side" technique you've mentioned in the past?
Paul, thank you as well for the explanation. It fits what I've heard (except for David, that is.)
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Author: Caroline Smale
Date: 2015-04-13 23:40
I have found that double/triple tongue works pretty well up to top of clarion but problems start soon after entering altissimo.
My thought is that the need to use the back area of the tongue interfers with the voicing needed from the toungue as you get higher in altissimo.
D/G tends to work better than T/K in the higher reaches again I think because K is produced further back than G.
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Author: Monsterchef
Date: 2015-04-14 02:07
Guy in the picture is Alexey Gorokholinsky. He has quite a few uploads on youtube and spotify.
What a monster technician!
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Author: goalexey
Date: 2015-12-08 23:52
Hello everyone.
Thanks a lot for all the praise and comments!
If anyone is curious about the technique behind the double-tonguing on clarinet, I made a video tutorial about it about a year ago.
In case you haven't seen it, here it is - https://www.youtube.com/watch?v=qoInFr4b8kQ
Best,
Alexey
audio engineer/sound designer/clarinetist
http://isometricsounds.com - sound design/mastering
http://kronodigger.com - progressive electronic music
http://alexeygproject.com - clarinet news
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Author: Paul Globus
Date: 2015-12-09 01:17
Alexey's technical prowess, as incredible as it is, is actually only a small part of what makes him special. His musicianship -- his insight into the piece he is playing combined with his exceptional communicative gift -- is what really sets him apart.
Of course, that's just my opinion but I have no doubt that many others who have enjoyed listening to Alexey's wonderful recordings would agree with me. And take note: Alexey's mother, Marina Gorokholinsky, who is heard with him on his recordings, is as much of a giant as her son. The way they play together is mind blowing.
Do yourselves a favour and purchase his recordings. You will be inspired.
Regards,
Paul Globus
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Author: seabreeze
Date: 2015-12-09 19:46
One of the International Clarinet Fests ought to do a seminar on multiple tonguing inviting clarinetists proficient in such techniques to present them side by side for comparison. What David Blumberg calls side to side tonguing may be the same as the "on-the-reed-multiple-tonguing" recommended by both the late Keith Stein and David Pino (who, I believe did a complete college dissertation on the subject). Perhaps, as others on this list have suggested, this is also the same technique used by John Yeh (on his recording of the Nielsen Concerto, for instance), and by Tarogato players who call it "flip" or "flipple tonguing."
In his book, The Art of Clarinet Playing, Keith Stein says "A . . . method, used by some outstanding players involves placement of the underside of the tongue tip on the lower lip membrane and gliding it roller-fashion back into the angle where reed and lip meet" (page 25). He goes on to say that "an action approximating double tonguing can be developed . . . based upon alternating the direction of each tongue stroke--as a house painter alternates the direction of his brush to and fro. Use the syllable "tha" in one direction and "thu" on the alternate (or "lah" and "loo") and literally paint the reed with the tongue."
Actually this sounds like two different multiple tongue techniques: 1) sliding the tongue across the lower lip, and, 2) alternating "brush" strokes with different sides of the tongue (front and back?) Add to this alternating the tip and back of the tongue plus throat (duh-gah duh-gah) technique of conventional double tonguing (as by recorder players, flutists, brass players, etc. do) and you have an interesting assortment of ways.
Alex Gorokholinsky's accomplishment is awesome, evidently using something akin to the flute-trumpet double tongue technique--which also seems to work well for Michael Rusinek. But for distinct sounding of each note with perfect clarity--to the extent that it doesn't "sound like double tonguing," I am still drawn to Peter Tanseki's YouTube demonstration of Illian Iliev's "cat tonguing," even if I can't tell if Tanseki is tonguing "sideways" or flipping to and fro like Keith Stein's paint brush.
Post Edited (2015-12-09 20:17)
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