I always had trouble double tounguing until I started playing The Chicken Dance in a polka band. After playing it tu-ku about a million times in different keys and registers I can now play as fast as the drummer can possibly bang it out! And I agree w Rowuk - all the other syllables are easier, and it's really helped me in ALL my playing.
Making a comeback after 9yrs, one step at a time!
Wild Thing Bb, Benge Claude Gordon Bb, Yamaha 635ST flugel, Selmer 900 TT C trumpet (possibly for sale - PM me)
There's the Arban's and there is playing in a polka band .... yep pretty well sums it up :)
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From Scheherazade, some examples of VERY fast and precise double tonguing from Frank Kaderabek and friends in the Philadelphia Orchestra. Rimsky Korsakov Scheherazade Mvt 4 Part 2; Phil Orchestra Ormandy - YouTube
Yes, boys and girls, they are right with the snare drum - especially the solo Frank plays at 1:33. It is also played softly, which separates them that can from them that can't.
And now -even thought we are not discussing triple tonguing - here is a perfect example of the wicked demands Ravel placed on orchestral musicians. http://www.youtube.com/watch?v=_hTOrXJgbZY
Start at approximately 5:40 and listen to what the horns and the trumpets must do. For those who do not know orchestral music well, the 1st and 2nd trumpets pass this vicious passage back and forth.
Last edited by richtom; 11-04-2011 at 11:24 AM.
I like french "tu" (roughly english "tee") because it helps me keep the tip of my tongue planted behind my lower teeth. Anchoring the tip of the tongue was the solution for my double-tonguing problems, along with Lee Loughnane who did it after DECADES of performing. Others have their own solutions, although I would be surprised if using the tip of the tongue to actually release the air worked for anyone. It's incredibly slow, and yet it seems that every non-brass-major grade school instructor has learned it this way and passes the troublesome habit on to their students.
2006 Yamaha Xeno 8335RGS
1987 Conn 100B "Doc Severinsen"
1946 Conn 22B "New York Symphony"
1927 Conn 6A
Double tonguing was one of the first things I wanted to learn on the comeback trail. The Green Hornet theme has been in my head since I was a kid.
Since I found it very difficult and it is so recent, I will give own experience, not advice.
I would practice the double-tonguing syllables off-horn, endlessly. I would try to go as long as I could before either messing up or the back of the tongue getting achy. I gradually worked up in speed.
On the horn, I would take a note that was simply comfortable (i.e., midline G) and VERY slowly and deliberately alternate between a Tu attack and a Ku attack until they could not be distinguished. Then, I would gradually speed up. As I got better, I realized how much strength and coordination was required from the back of the tongue, so I would pick short exercises just to play it entirely with a Ku attack.
At this point, off horn, I am now double tonguing while whistling to get the feeling of lightly interrupting the air and speeding up my coordination. All of the sudden, all these things came together, and I could slowly double tongue an etude, which I found very arduous on the corners. So, there was another period of my chops getting used to the work.
I am now double-tonguing where in the notes change and where they don’t. The later I have found more difficult. Another person who I have practiced with finds the same thing.
I always try to push my speed but never at the expense of clarity and accuracy. There is some double tonguing for an arrangement of “O Canada” that I have to play at a Remembrance Day ceremony tomorrow. It is faster than I ever practice but it just comes.
There is so much good in the worst of us,
And so much bad in the best of us,
That it hardly behooves any of us
To talk about the rest of us.
Edward Wallis Hoch, Marion (Kansas) Record
(1849 - 1925)
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