Author: donald
Date: 2020-03-29 05:14
It's worth noting that (as mentioned above) there are variations of "anchor tonguing". I have a variation of it where it's the same action as described above, but the tip of my tongue is NOT anchored or touching anything.
I find this way I can tongue quite accurately at speed, but definitely do NOT want to use this technique for tonguing at slower speeds (ie 16ths under 112/116). This has bothered me for some time, as the changeover from one to the other can sometimes create an unfocussed moment, so this is actually something I've been thinking about and investigating for some time.
One thing I discovered, though it might seem obvious, is that the angle the clarinet is held at changes the distance that the tip of the mouthpiece enters the mouth (same applies to how bowed your head may or may not be).
When the tip is further IN, you tend to need to pull the tongue back into the mouth ever so slightly- creating tension.
The natural place to do tip to tip tonguing is forward in the mouth, allowing easy action because the tongue isn't already in a state of tension.
This explains why most clarinet players can tongue an air sound faster (and more accurately) than they can tongue on the reed. Sure, the fact that the reed has to move/stop/move (ie physical movement is involved, unlike on the flute) has some influence here.
So my recipe....
- clarinet at steeper angle/head up, tip to tip works better, more natural feeling.
- clarinet at higher angle/head down, tip to tip more tension, anchor tonguing style more natural and faster.
Of course results may vary, but I've found I've been able to help advanced students with this knowledge, and have seen it's findings proven when working with students of all levels.
BTW- I used to have a bootleg recording of Ricardo playing a solo recital, shortly after he got the Met job. His tonguing was FAST, and this was the period in which I am told he was anchor tonguing. It was also very, for want of a better word, "blatty" and not at all delicate. It was an amazing performance and very impressive in terms of virtuosity and accuracy but I recall not liking his articulated passages.
I have since heard him live in 1998, 2000, 2003 and 2006 and don't recall having the same reaction as I did to this earlier performance. I have always wondered if this was connected to his use of anchor tonguing and that he may have moderated his use of it? That said, I myself have instances where I use it for extreme articulation passages.
dn
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The Clarinet BBoard
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