multiple tongueing/earliest known use

Discussion in 'Trumpet Discussion' started by Sterling, Jun 20, 2008.

  1. Sterling

    Sterling Mezzo Forte User

    Oct 22, 2007
    Marcellus, NY
    I'm sitting here proctoring a seventh grade math final and finally have time to pose this question. When is the earliest known use of double and triple tongueing? It's probably before the 1870's because it appears in the Arban book. I can't think of a piece of music specifically written for trumpet or cornet that requires multiple tongueing before the advance of the theme and variation cornet solos. Any ideas?
  2. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    Altenburg, 1795, for sure; perhaps as early as Bendenelli, 1614, as far as trumpet texts go. The Clarini parts in the Toccata from Monteverdi's L'Orfeo (1604) are hard to play single tongued.
  3. Dr. Zink

    Dr. Zink Pianissimo User

    Feb 8, 2007
    North Coast US
    First of all define double tonguing. Cornetti employed a reverso tonguing that was somewhat akin to double tonguing, and that dates from the 1580s.

    I'm not so sure about Bendinelli. I'd have to double check that one.

    This topic came up a while ago in regard to double tonguing in the trumpet parts in the Christmas Oratorio:

    This was a response I gave, hope it helps:

    Bismantova, in his Compendio of 1677, spoke of modern-style double tonguing, giving the example of de-ghe de-ghe. Though he was illustrating articulations on the cornetto, he was perhaps the first to acknowledge that “brass†instruments require an articulation that produces more compression than those associated with wind instruments such as recorders (dalla Casa’s lere lere and dere dere) As a cornetto player, I find dere or tere (like saying “today†or “tada†though with the accent on the first syllable) most effective for moderate tempo passage work. (It is also particularly effective on the baroque/natural trumpet, and you can indeed flick off two sixteenth notes a la the Christmas Oratorio quite handily: ta-tada ta-tada ta...) Lere or the “didl†articulation I only use on the fastest passaggi and trills (yes, in the early 17c trills were articulated!)

    As odd as some of these articulations may seem, thay actually work. Try them, and even if you can't make heads or tails of them one day it'll click in and open up a whole new world making the music speak. (Actually having something to say with the music is another matter)

    Fantini as well, in his Modo of 1638 illustrates teghe teghe for repeated as well changing-pitch sixteenth notes.

    And as Rowuk noted, Altenburg also prescribed (though considerably later, in 1795) so called double tonguing.

    I suppose you can’t get much better historical justification than that.

    What ever the articulation employed, one would be well advised to be mindful of both the effect and the affect of the music - it is music after all, not merely an excerpt to be conquered. There’s nothing more obnoxious than an over articulated brass part. Not every baroque work with trumpets, however glorious, was intended to be a trumpet concerto.

    Best Wishes


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