Double Tonguing Questions

Discussion in 'Trumpet Discussion' started by wezley, Nov 2, 2011.

  1. wezley

    wezley Pianissimo User

    Oct 24, 2011
    I've heard a lot about this. I was wondering which is best though the Tu - Ku method or the Ta - Ka? Also would it be best to sit on my horn and pick a random note then just start doing it slowly to build the muscle up or is the a more practical way?
  2. codyb226

    codyb226 Banned

    Mar 9, 2011
    Florida, US
    Tu - Ku or ta - ka what ever works for you, and don't start playing like that, say it around the house. Once you begin to get use to the feeling then try it on the trumpet.
  3. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    Arbans. Play one exercise after the next until your tongue is exhausted. Sometimes a "Dogo" approach helps--the point is to get the tongue relaxed yet working.

    Have fun, wezley!
  4. MSfortissimo

    MSfortissimo Pianissimo User

    Jul 13, 2011
    SF Bay Area
    I use a doo goo for more Legato sections, and tu ku when I encounter Staccato.
    But that's just me. Find what works for you.
  5. Chuck Cox

    Chuck Cox Forte User

    Oct 3, 2008
    Cary NC
    DiKa....or whatever works best for your tongue. The first syllable makes the tip of the tongue touch just behind the front teeth for me and the second syllable has the middle of my tongue pushing out the ka with the tip of my tongue relaxed and touching nothing. Practice different phrases until you find the best one for you to start getting the best double tonguing. I try to put a little more emphasis on the second syllable because it is naturally softer and weaker than the first syllable for me. One day it will just "click " for you. It never hurts to have a few private lessons from a trumpet instructor and see what he/she advises.
  6. larry tscharner

    larry tscharner Forte User

    Apr 30, 2010
    dubuque iowa
    Like anything else, you gotta pay your dues. Doing it till your sick of it is one way to get better, but I like to tu-ku around the house or in the truck. Like the man said...have fun with it however you can and it will come a lot easier. Try to see how many tu-kus you can slip into a conversation before you get cought and the person asks if you forgot your medication and are having a stroke. Have you seen the movie Super Troopers? Stupid movie but funny too. The officers play a game at traffic stops by working the word "meow" into the conversation and counting how many times they can get away with it. Same principle.

    I know its not quite the same without the mouthpiece and the buzz, but it gets your toung flexible and ready to 'rock'. Best wishes.
  7. trickg

    trickg Utimate User

    Oct 26, 2003
    How about da ga? No matter which syllables you use, ultimately you'll get to a point where you stop thinking about it as specific syllables and you will star thinking about it as a rhythmic figure. And there is no shortcut. If you want to really get your multiple tonguing clean and crisp you'll just have to work on it. Lots. And lots and lots.
    Last edited: Nov 3, 2011
  8. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    The consummate trumpeter needs it all. Double tonguing is not a "thing", it is a whole book of things.

    We need to be able to play EVERYTHING from clouds to peanut butter to flame throwers. Our attacks need to go from syrup to nuclear explosion. The written music where double tonguing is useful, has staccato, legato and accent marks.

    I ALWAYS teach TuKu first. It is hardest and when ever we find a path of less resistance, major work does not get done later.
  9. coolerdave

    coolerdave Utimate User

    Nov 7, 2009
    San Pedro
    Try it playing the Clarke Technical studeies ... really slow and deliberate .. now there's a good work out
    Tu- Ku to start .. agreed
  10. trickg

    trickg Utimate User

    Oct 26, 2003
    Arban's teaches "tu ku" - seems like a decent place to start.

    Rowuk brings up a good point about a player needing it all, and I stand by what I said about getting to a point where you'll stop thinking about mechanical concepts and you'll push forward with expression and music instead.

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