 The Clarinet BBoard
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Author: Cody K.
Date: 2016-01-07 10:08
So, Lately, I have been looking into double tonguing, and the different techniques. I have to ask, after coming across the on the reed technique (which I hadn't known about, until I found using the site search), which is the better/more efficient technique; on the reed, or the traditional techinique, where you articulate with your air?
Thank you, in advance, for your replies.
Cody K.
Post Edited (2016-01-07 10:15)
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Author: Paul Aviles
Date: 2016-01-07 19:04
Hmmmm............
I am a bit confused by how you state your question.
I would say that "traditional" double tonguing is the alternating between interrupting the sound by having the tip of your tongue on the reed for "tee" and using a point further back upon the roof or your mouth for "kee." So a fast passage would be a series of "tee-kee-tee-kee," etc.
I refer to this short tutorial by Michael Rusinek:
https://www.youtube.com/watch?v=JVRgKs5t86A
There is also a technique where you brush back and forth or up and down across the tip of the reed but I don't use this and I'm sure there are others better equipped to comment on this.
...................Paul Aviles
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Author: seabreeze
Date: 2016-01-07 21:06
I think Cody got the name "On the Reed" multiple tonguing from David Pino's book, The Clarinet and Clarinet Playing, pages 96-105. An excerpt from Pino's book discussing this kind of multiple tonguing can be google-searched as
David Pino How Can I Double Tongue?
This same search key also brings up an interesting discussion of the subject by David Thomas.
Post Edited (2016-01-08 00:13)
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Author: Sean.Perrin
Date: 2016-01-07 22:55
I don't quite understand either. Wouldn't "on the reed" double tonguing just be fast single tonguing? I think most articulate at the back of the oral cavity for the "guh" or "kuh" sound, I have never heard of someone going up and down on the reed like this. But I am intrigued.
Founder and host of the Clarineat Podcast: http://www.clarineat.com
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Author: seabreeze
Date: 2016-01-08 00:11
There are players who can do "on the reed" double and triple tonguing.
Peter Taneski gives an example (calling it "cat tonguing") on YouTube.
Search for Peter Taneski Cat Tongue Method Double and Triple Tongue on YouTube to hear it.
In his book "The Art of Clarinet Playing" (Summy-Birchard Inc., 1958, page 25), Keith Stein described the technique:
"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 ... painting the reed with the tongue." David Pino studied with Stein and later wrote an academic thesis on the subject of multitonguing (in addition to his coverage of it in "The Clarinet and Clarinet Playing," pages 96-105) .
Post Edited (2016-01-08 01:57)
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Author: Johan H Nilsson
Date: 2016-01-08 01:26
I tried the method described by Pino ("on the reed double tonguing") but couldn't get any speed above single tonguing, even with some patient training. In theory it should be better, since blocking/releasing the reed should give better articulation than starting/stopping the air stream further back in your mouth. In theory, it should also allow double-tonguing during circular breathing.
It didn't work for me but it apparently works for others. The reason could be biological. Not all people can do all tongue motions. The flipping motion is not used in the spoken language, so I cannot figure out how people can do it rapidly.
So I went the taka way.
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Author: Bill G
Date: 2016-01-08 07:21
I'm not an "educated" clarinetest (I had no private teacher until I was over 80)
but i found a way to double tongue on-the-reed while in high school when I first subbed in a circus band and had to play "gallops" at very rapid tempos. I came to call it "duddle-tonguing", using the syllables "duh-dle". It worked for me.
Bill Gamble
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Author: DavidBlumberg
Date: 2016-01-08 22:18
However (before asked questions to clarify), you have to have that coordination naturally.
Your tongue either does it very easily and quickly, or it doesn't.
Most tongues are slow like a turtle doing that.
Standard double tonguing or the cat method (pino) would get my vote for flexibility and ease.
But single wins auditions more.
http://www.SkypeClarinetLessons.com
Post Edited (2016-01-08 22:20)
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Author: seabreeze
Date: 2016-01-09 00:43
Agreed that nothing can take the place of a naturally fast single tongue. But Canadian clarinetist Alain Desgagne recalls, during a lesson on the Mid-Summernight's Dream staccato passage, that he started out with a very slow tongue and after much practice can now play the part up to speed (I assume he's single-tonguing). He and his student Eric Abramovitz do a nice job demonstrating light and fast single tonguing.
Search YouTube for Play With The Masters Alain Desgagne Clarinet 3 0f 4
Post Edited (2016-01-09 00:45)
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Author: Geronimo
Date: 2016-01-25 11:50
Cody,
When discussing articulation with most teachers/professors, nearly all of them will tell you that there is no need for double tounguing. However John Bruce Yeh occasionally uses the left to right method ("paintbrush tounguing").
If you want to experiment with these techniques I think it's important to remember that we are discussing articulation with a clarinet mouthpiece, not a flute headjoint or brass mouthpiece. Because of this it makes sense to do one articulation with the tongue and the reed, followed by one with just the throat/back of the tongue.
At the end of the day, would you rather figure out what method is best and start for scratch, or just work on a great single toungue?
-Geronimo
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