Just a couple of my cents worth.
The biggest problem most of us have/had with multiple tongueing is that
we try to use it in context (i.e. fast tongueing) too soon. You gotta practice
it
slowly every bit as much as practicing fast single tongued or slurred or
awkwardly fingered passages slowly. The finger/tongue coordination and
so forth has to be worked out.
But an even bigger problem is that most people try to multiple tongue
("t-k-t-k")before they have a solid "k" to begin with. When every other
tongue is a clear "t" (as in "t-k-t-k")you can sometimes fool yourself into
believing that the "k" is also good. I find it very useful to practice for
several
days or even weeks doing your soon-to-be-double-tongued passages
very slowy, on all "k" syllables (or "g" or whatever you use). When all you
have are "k"s, it's amazing how quickly the brain will begin to focus on
making that articulation sound well.
A brief example--if you are doing a Kopprasch etude that is all 4 note
patterns and you eventually intend to play this "t-k-t-k", begin with
"k-k-k-k".
After a few days switch to "t-k-k-k", maybe even trick patterns like "k-t-k-t"
or
"k-t-k-k"; then only gradually to "t-k-t-k". Eventually the brain will create
a
well-placed "k" and will learn to make the "k" sound like a "t".
After a good "k" is accomplished, the next problem tends to be "hacking"
the end of the "k". This not only sounds bad but also slows down the
articulation. Keep the end of the "k" notes as clear as the ends of the "t"s.
"Blow through" the "k"s in other words.
Two other quick comments and then lunch is over. First, I agree totally
with the sentiment that you'd better not wait until you get caught with your
pants down to start working on this. I played "Katschei" half a dozen times
and could always single tongue. Then I finally got to play it with a major
orchestra that did it that 4 beats faster than I could single tongue. Hard
way to learn a lesson!! Second, don't think of double tongueing as only a
rapid technique. Once you've learned to "k" and "g" successfully, they can
become a part of your articulational tool box just like "t" and "d". A
well-executed "k" can make for a lighter articulation than "t", even in slow
and/or legato passages. A judiciously placed "k" has saved my rear-end
more than once when I was in the middle of a long legato passage,
running out of chops and/or air, and I knew that a "t'" ran the risk of
cracking.
Well, I guess that turned into a few nickels worth. Sorry.
Dr. Timothy F. Thompson
MB 340, Department of Music
University of Arkansas
Fayetteville, AR 72701
(501) 575-5762
[EMAIL PROTECTED]
_______________________________________________
Horn mailing list
[EMAIL PROTECTED]
http://music.memphis.edu/mailman/listinfo/horn
