 The Clarinet BBoard
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Author: EEBaum
Date: 2006-02-26 06:42
While it may very well be physically possible, what makes you want to double-tongue on bass? Clarinet isn't much of a double-tonguing instrument, bass doubly so.
-Alex
www.mostlydifferent.com
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Author: Paul Aviles
Date: 2006-02-26 11:23
Well, as one late to double tonguing I find bass much easier than soprano (this might be a strictly personal experience), but there are MANY instances where the technique is almost a prerequisite such as "Russlan and Ludmilla" (how else are you to keep up with the baritones and bass tombones?). Ferde Groffe? Stravinsky?
The "tip" is the same for soprano. Work in the chalumeau first, don't get caught up on "kas" sounding worse than "tas" because they sound much closer than you think from the player's perspective, get comfortable with duples first, and the trick is learning to start on "ka" when the entering note is on the weakened stress.
..........Paul Aviles
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Author: William
Date: 2006-02-26 14:50
Paul advised, "and the trick is learning to start on "ka" when the entering note is on the weakened stress".
Personally, I never start a double tongued run on "ka", but rather do a double "ta-ta" to get the sequence started. No one ever taught me this--it is just something that works well for me. And I agree that multiple tonuing skills are more easily executed on the larger single reeds--bass clarinet and all of the saxophones.
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Author: JessKateDD
Date: 2006-02-26 16:01
Oddly enough, I also double tongue. Unlike Paul, I work tirelessly on the "kah" syllable and try to make it match my "tah". But, like he, I rely on others - I tongue passages single and double to friends and get them to guess which is which - if they cannot tell the difference, then I'm happy.
Also, I put "kah" on the strong parts of the beat. I find I can tongue more evenly this way. So there you have it - two completely opposite approaches. Find what works for you.
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Author: bassclarnetrocks
Date: 2006-02-26 19:16
Alex~
Um..i am playing a piece called "Esprit de Corps" for concert festival..and myself..the basson, clarinets, and saxophones..need to keep up with the baritone and trombones in double tonguing for a few measures..so i just needed some advice to keep up with them instead of slowing the tempo down.
~Emily
Post Edited (2006-02-26 19:17)
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Author: LarryBocaner ★2017
Date: 2006-02-28 00:38
I've found it amusing that Sherman Friedland's advice site relegates the use of double tonguing only to repetitions of the same note: as in the Prokofiev "Classical Symphony". I had the good fortune to have played in the same clarinet section with Michael Rusinek for several years, and I can vouch for the fact that his double tongue quality is the same for the tah's and the kah's! Moreover he is able to double tongue passages such as the Nielsen Concerto cadenza absolutely cleanly at a tempo that very few players could possibly accomplish with conventional single tonguing. Even at my advanced age he was able to initiate me into the "club" although I regret that I never invested enough practice time into it to really be consistent or comfortable.
I remember concerts with the late, lamented Iona Brown conducting; our unison double-tongued ascending 16th-note unison scale passages in the Mozart Haffner Symphony never failed to elicit a big smile from her at each performance!
If I were a young player aspiring to an orchestra (or band or solo) career, I would absolutely work my tail off to master the art of double-tonguing!
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