Double Tounging - I've been trying for years.

Discussion in 'Trumpet Discussion' started by JoSkelker, Nov 12, 2012.

  1. Cornyandy

    Cornyandy Fortissimo User

    Jan 9, 2010
    East Yorkshire
    Yes well my K sound is so low it is almost a Glottal Stop which cuts the airflow almost completely. So I have to lightnen the sound and bring it forward for doubling to work
  2. sj3209

    sj3209 Piano User

    Nov 22, 2006
    Amador County, Calif.
    Think of a french sound of du ku, or dew kew in english. The sounds are closer on the tongue and both leave a channel for the air to travel though. The articulations should not be far apart.
  3. JoSkelker

    JoSkelker New Friend

    Mar 26, 2012
    When you say 'dew kew' do you mean to pronounce it like dew (as in water on the ground in the morning) or more like 'do' and with the 'kew' do you mean like 'cue' or like cou (as in coup)?
  4. Rapier

    Rapier Forte User

    Jul 18, 2011
    Ti Ki works too and seems to use a cleaner tongue action than most.
  5. dorkdog

    dorkdog Pianissimo User

    Oct 14, 2012
    For me...

    It's like using your thumb to turn the water on and off instead of at the spigot.

    In GuitarLand, this is akin to double picking - on the downstroke as well as the upstroke. No matter how hard you try, it is nearly impossible to make the two sound identical in terms of attack. It's been the same for me with brass - when I listen to a person doubletonguing, I can hear the difference between the 2 attacks - in an ensemble setting, this distinction is blurred considerably to my ears.

    I remember being 14 or so playing the overture to Rienzi on the trombone - I think I sort of 'laughed' my way through the 16th notes - ha-ha-ha-ha-ha-ha-ha---HA! like a stutter. I was in way over my head (as is my custom) and got called out on it during rehearsal and had to laugh thru my bone in front of the whole group!

    I have little trouble doing it now, but I can't for the life of me analyze how I do do it. As a comeback player, it is slow to return as are the high notes but it's always getting a little better.

    Slow and steady wins the race; two steps up and one back is the norm.
  6. vern

    vern Piano User

    Mar 4, 2008
    Everyone above has better advice than I could have given, but I'd like to say this: I think it is really important to practice multiple tongueing EVERY day as part of one's daily routine (and not simply from time to time).
  7. Cornyandy

    Cornyandy Fortissimo User

    Jan 9, 2010
    East Yorkshire
    Nice one Vern, its amazng that the rest of us forgot that actually crucial bit of advice
  8. JoSkelker

    JoSkelker New Friend

    Mar 26, 2012
    I incorporated some exercises into my warm up routine a few months ago, this way i'm spending at least 15 minutes on it every day. There's been some improvement, I also found this morning that the ti-ki syllables worked a bit better for me.
  9. dangeorges

    dangeorges Pianissimo User

    Oct 20, 2010

    "Start with short (four-note) phrases, and work on adding more until you can do it for as many notes as you need."
    My suggestion implies practice, but maybe it wasn't clear enough...
  10. gmonady

    gmonady Utimate User

    Jan 28, 2011
    Dayton, Ohio
    He was known as Hughes Dave until he got it right. I do agree da-ga, da-ga, da-ga works so much better than ta-ka.

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