Hunt Plays ARBAN - section 155
Please give me tips on how to improve single tounging speed. I'm a senior in high school and need your help. Also some tips on double tounging please.
This may be one of the best-kept secrets re. developing the "higher"
register.I urge you to develop your single tongue to a "high" level of efficiency, BEFORE you begin to even think about double tonguing!
Think of double tonguing only as "something to which you will have to resort" when your single tougue "runs-out". This can help to place the relative importance of the two in perspective.
As in ALL things - practice SLOWLY until the tongue is precise - then gradually increase the speed. When you are ascending or descending - use the "silent whistle" approach for correct tongue placement. Your attack will vary from TOO-TOO at the lowest, to teeh-teeh at the highest. (And infinite variation between those extremes. Many problems result as a result of a mis-match between pitch and tongue placement.
Keep 'Em Flying,
Clyde
It is perhaps no secret that much of the "high register pyrotechniques" take place in the Bigband or jazz setting. Therefore, much of the "playing" is quite legato and melodic. I suspect that this may be the predominant reason that "stratosphere tonguing" is not so widely pursued, or even discussed.
Perhaps most "non-jazz" playing, in the C3 register, is done on the "Capo" trumpet, rather than the long Bb - hence this demanding, "forward" t e-e-e- kind of tongue is not so frequently experienced. The short - tubed instruments do not seem, to me, to require tha same tongue position as the long Bb. (Above C3)
If your "developing" range seems to be "stuck" in the "F to G#" range, try developing a sharp, clean, tongue in the "C, C#, D, Eb area. You may find this to be quite taxing. Your tongue, in order to execute the attack, MUST be "right out front" - an extension of the "silent whistle" technique, which I advocate.
And yes, it is even possible to multiple tongue in the C3 register!!
In short - I do advocate the use of "high register tonguing" for sevaral
reasons.
Keep 'Em Flying!
Clyde E. Hunt
I went through a fairly big embouchure change about 3 4 years ago, we moved my set up and rolled in the corners a little. The result is a nice open sounding upper register (dbl G's, A's sometimes a C), much better endurance. The only problem is my setup is so relaxed that my tongueing is not very good.
Do you mean just since the embouchure change? Or has this always been the situation?
My tongue gets between my teeth, giving me a choppy articulation.
(Clyde) = One of the things I have noticed is:
(1) Many of the "chops" books DO NOT have much concern with tonguing - simply because "tonguing" is not a particularly important aspect of this kind of playing (ie.
higher / louder.????)
(2) In fact, some some persons, such as Jerry Callet (a respected friend of mine, btw,) advocates inserting the tongue between the teeth!
(3) my suggestion would be to "go back over" some of your "range developers", this
time TONGUING EVERYTTHING - as opposed to the concept of employing "lip
trills".
(4) I am often told, "there are several people who are able to play with an very great
range - but I have heard few, if any, other players who are able to tongue, rapidly and
cleanly - even multiple tongue, near the top of their register".
The tongue is used as a valve to control the air during the initial "attack", or beginning
of the tone. If you do not "TONGUE" the note, it will not have a precise, definite
beginning.
Let's refer to that 2nd. line G again. In order to "start" the tone, place your tongue
lightly against the back of your upper teeth, at the gumline. (This will be adjusted
somewhat, according to how high, or low, the pitch.). Now, take a good breath , and
commence the blow. You will find that you CANNOT produce a tone with your tongue
in this position!! When you "pullback" your tongue, the air, already undr pressure,
"bursts through" thus creating the so-called "attack". The relative "sharpness" (staccato)
or "smoothnes" (legato) of the attack is controlled by the point at which the tongue
strikes the teeth. The attack syllables vary from a very marcato TAH! TAH! TAH! , to a
very legato lah, lah , lah .
AN IMPORTANT CONSIDERATION - the concept is to "pullback" the tongue and
release the air -NOT -to reach forward and strike the teeth with the tongue. A subtle
difference, perhaps.
(Q) How do you triple tongue?
(A) One word of caution - please make certain you have GOOD control of your single
tongue before tackling the Triple Tongue.
Go to section 155 in your ARBAN book. Practice SLOWLY and distinctly without
the mouthpiece. Begin on G second line (singing while practicing) Tah - Tah - Kah,
repeat, etc.
The PROBLEM is to make the "Kah" indistinguishable from the "Tah's" and keep
them ABSOLUTELY EQUAL - especially, as you attempt to increase your velocity.
You may find it helpful to slightly accentuate the "Kah" - it will "even-out" as your
increase tempo, and accentuate your awareness of the problem.
You might find it helpful to visit our website where there several "examples" form
HUNT TEACHES ARBAN
(Q)Please give me tips on how to improve single tounging speed. I'm a senior in
high school and need your help. Also some tips on double tounging please.
Thank you,
I urge you to develop your single tongue to a "high" level of efficiency, BEFORE you begin to even think about double tonguing!
Think of double tonguing only as "something to which you will have to resort" when your single tougue "runs-out". This can help to place the relative importance of the two in perspective.
As in ALL things - practice SLOWLY until the tongue is precise - then gradually increase the speed.
When you are ascending or descending - use the "silent whistle" approach for correct tongue placement. Your attack will vary from TOO-TOO at the lowest, to teeh-teeh at the highest. (And infinite variation between those extremes. Many problems result as a result of a mis-match between pitch and tongue placement.
Q - I am having trouble learning to double tongue. How do I begin?
Well, let me start by asking a question. Are you able to triple tongue?? My teacher, William Best, felt that the double tongue is often more successful when it follows mastery of triple tongue.
Problems with multiple tonguing are often related to:
Keep 'Em Flying,
Clyde
> Hello, Thank You so much for your patience on my ignorance. You
> stated that the single tongue should be developed before attempting
> Triple or Double, and that the Kah should sound like the Tah... Gah
> like the Dah. Would introducing Kah & Gah as the single tongue
> syllable foster better Multiple Tonguing?
Dear XXXX,
Yes, that is a helpful suggestion. What I was alluding to, specifically, is that multiple tonguing is often attempted BEFORE there is a good, clean, rapid, straight tongue. The straight tongue is always preferred if the tempo will allow it! In other words, you don't want to be in the position of having to double tongue at tempi where the single tonge "should" be possible. The double tongue should be the "court of last resort"!
All the best,
Clyde Hunt
https://www.bflatmusic.com/hunt
1. Un-even-ness of the syllables. This is often the result of trying to
move too fast too soon. Start very slowly and master the
articulation BEFORE attempting to to add the mouthpiece.
2. Inappropriate syllable for the register. Eg., ti-ki - ti - ki, in
the low register. Syllables need to "follow" the melodic line.
3. Too much tongue motion - the motion should be as slight as possible.
4. One needs to be able to vary the syllables from ta ka ta ka to da ga
da ga
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