Trumpet Discussion Discuss Pianissimo flutter tonguing in the General forums; Another thing you might consider toying around with Alex, is a "grrrr" type of flutter....perhaps even ONLY as you get ...
Mezzo Piano User
Another thing you might consider toying around with Alex, is a "grrrr" type of flutter....perhaps even ONLY as you get really soft. Kind of switching from the tongue flutter to the grrr. I don't personally do or like the grrr or growl type way of getting this sound...but, maybe it's something that will work for you. I know several folks (especially trombone players) who use this tactic when flutter tongue is called for.
That said...I am certain that with conscious practice, you will have "no problem" with whatever way you choose.
Mezzo Piano User
Yes. I also use the "grrr" tactic when flutter is called for. This is primarily because I still can't get the mechanics of fluttering down. We are performing Rhapsody in Blue and to play the growls I find that I must use so much air to get that "rrrrrrroll up the rrrrrrim to win" (Tim Hortons commercial - any Tim Hortons in the US?) Our director asked that we turn it down a little and that makes for a very difficult ordeal.
Also, I keep hearing about these Caruso exercizes. Can someone tell me a little about this and where to get it?
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Mezzo Forte User
Carmine Caruso's Musical Calisthenics for brass:
There's a forum on TH dedicated to this and with several people who really know it inside out to ask questions to:
For me when I am going for a slow flutter it is really a sign that I have the air speed going a little slower. I use this all as a diagnostic tool more than anything, if I can flutter tongue softly with control, I know a lot of things are working the way I want them too.
Sorry to dive into this one so late...(as usual)
Have you experimented at all with a
"looser" flutter tongue? Try removing all tension from the tongue and continue to flutter with the tip (assuming). The goal is a softer, "looser", flutter (no angry bees) which, like all good articulation, follows the air.
It's hard to do but everything is when first attempted.
This flutter is critical in making the seamless transitions from doodle/flutter/double/flutter/doodle in Berio's SEQUENZA X and useful also in Tisne's EMOTION -- both terrific pieces for a real player to have in his/her repertoire.
Thank you Ed. With all of the hats you have to wear, I am happy you took the time to dive in. I have been experimenting and the loose flutter seems to be the answer. Previously, I incorporated a bit of tension and would use the area right behind the tip of the tongue against the roof of my mouth to make the flutter. This works most of the time and at most volumes, but not always. The thought of loosening up the entire tongue and using just the tip works great. A little reconditioning of my approach with all of the guidance I received here and all will be well.
Thanks again Ed, and to all of who took the time to answer. I learned a lot.
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