 The Clarinet BBoard
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Author: Suzanne
Date: 2001-11-19 21:34
Do folks play excerpts like The Bartered Bride and Beethoven 4 mvt. 4, and similar excerpts with rapid articulation as double or single-tongued? I am just curious; I am just starting to learn double tonging because I max out on sixteenths around 132-138.
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Author: Jeanne
Date: 2001-11-20 02:45
This is kind of off topic, but I was told it wasn't possible to double tongue on the clarinet. How do you do it? I know how to on the oboe. Is it kind of the same?
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Author: Stephanie
Date: 2001-11-20 03:19
My friend told me to say "ti=ki" into the mp. I just started trying to double tongue. Actually, I did it by accident trying to play Nabucco at all state last year. Anywayz, it can be done. But to me it's harder than it sounds.
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Author: William
Date: 2001-11-20 04:30
There are two ways that I know of to "double" tongue. 1) Say tu-ku, tu-ku or 2) Flicking the tongue back and forth over the tip of the mpc so that you articulate going up and coming down. I have developed a pretty good "double" and "triple" technique using the tu-ku and tu-tu-ku style--much the same as used by trumpet players (which I also play for fun). But it takes flawless technical coordination and steady breath support as well as an arched tongue in the back of the mouth to concentrate the air stream--especially above high C. But, with a good reed, I can double tongue chromatically from low E all the way to double high C and back down. John Bruce-Yeh, the brilliant assistant principal clarinetist with the Chicago Symphony Orchestra, told me that he uses method #2 and never had much luck with the #1 method that I use. He said he used the "flick" method in his (superb) recording of the Neilson Concerto, which every clarinetist should own. Another interesting CD for you to listen to would be Dragons Tongue, by Robert Spring--although I am not sure which method he uses, but he is quite impressive. Charles Niedich, NY city virtuoso clarinetist, also uses multiple tonguing techniques as well as circular breathing, which is another story. Bottom line: Single tonguing is best, if you can keep up. Ricardo Morelles of the NY Met Orchestra said he has always been able to tongue anything no matter how fast the tempo--for him, and many other people, it is an ability that you are born with. But for people like me who were born with muscular speed controls--mine set at 16ths = mm 112--double and triple skills are a must in some orchestral and band literature. Most listeners as well as other musicians around you, cannot detect double and triple articulations once the skill is perfected. So, I say, if you need it--Go For It--and play Mid-Summers Night Dream with the best of them. Good Clarineting!!!!!!! (& tu-tu-ku)
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Author: Ed
Date: 2001-11-20 14:45
Check Clark Fobes website for a good article for synthetic speed tonguing. It is another workable option.
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Author: Mark Pinner
Date: 2001-11-22 11:41
I use double and triple all the time when necessary. It takes a bit of work to get the ku tongue to sound the same as the tu but it is possible. I know it is a little of the subject but both Frank Trumbaeur on the C melody sax and Jimmy Dorsey on both alto sax and clarinet were able to produce some very rapid tongueing using both double and triple. Have a listen.
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Author: ARH
Date: 2001-11-26 16:57
You should definitely read the article mentioned above. I have been working on my double tonguing skills using the "tuttle-uttle" method (which is explained in the article), and my speed has increased quite a lot. It takes a lot of tongue-finger coordination, but you'll get it eventually if you're willing to put in the effort.
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Author: Chris P
Date: 2008-05-24 18:06
While having a look on YouTube for a performance of Ravel's 'Intro and Allegro' (to hear the double-tongueing bit very early on in this piece) I found this: http://youtube.com/watch?v=cHYKv5zNRHY
'Scuse me for being a t-i-n-y bit picky, but what IS the 'cellist doing (while the flute and clarinet do the double-tonguing bit)? Those aren't even the right notes of the 3rd theme!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ed Palanker
Date: 2008-05-25 14:35
The short answer is you do whatever you can to play the passage as well as possible. Many players even do slur two and tongue two if there is no other way to keep up. The Hancock " The Working Clarinetist" gives a good example of this in his Beethoven 4th excerpt. He claims even Harold Wright used some slurs in the Beethoven solo. If you can double tongue, all the better, if you can’t single tongue fast enough. You do what ever you can. ESP
www.peabody.jhu.edu/457
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Author: Wes
Date: 2008-05-25 22:36
Double tonguing is a valuable technique for clarinetists and oboists. Some persons may have smaller tongues which could allow for very fast single tonguing and double tonguing is not necessary for them. There are few references to learning double tonguing and no discussion has been seen on the techniques for controlling the space between notes, which is desired in both single and double tonguing. With practice, single and double tonguing can sound the same. Good luck!
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