Hubbry Logo
TonguingTonguingMain
Open search
Tonguing
Community hub
Tonguing
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Tonguing
Tonguing
Tonguing
View on Wikipedia
from Wikipedia
Kettledrum double cross-beat. So-called because kettledrums were associated with trumpets and borrowed the terms for their rhythms from those for tonguing.[1]

Tonguing is a technique used with wind instruments to enunciate notes using the tongue on the palate or the reed or mouthpiece. A silent "tee"[2] is made when the tongue strikes the reed or roof of the mouth causing a slight breach in the air flow through the instrument. If a more soft tone is desired, the syllable "da" (as in double) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release, tongued release, etc.) For wind players, articulation is commonly spoken of in terms of tonguing because the tongue is used to stop and allow air to flow in the mouth. Tonguing does not apply to non wind instruments, but articulation does apply to all instruments.

An alteration called "double-tonguing" or "double-articulation" is used when the music being performed has many rapid notes in succession too fast for regular articulation. In this case, the tongue makes a silent "tee-kee".[3] (The actual tongue positioning varies slightly by instrument. Clarinetists may go "too-koo" but a bassoonist may actually say "taco".) Double-articulation allows the tongue to stop the airflow twice as fast when mastered. If the music specifies a pizzicato sequence, the musician might perform this as a rapid sequence of the articulated note, thus: "tee-kee-tee-kee-tee-kee-..." etc., in staccato. When beginning with "da", the second syllable is "ga". Double tonguing is easiest on brass instruments, and it is more difficult for some woodwind instruments, primarily the clarinet and saxophone.

There is also "triple-tonguing", used in passages of triplets: "tee-tee-kee-tee-tee-kee", or less commonly "tee-kee-tee-tee-kee-tee".[3] Cross-beat tonguing, used for dotted rhythms (Notes inégales: louré or pointé): tu-ru, with ru falling on the longer note on the beat. Another method was made by Earl D. Irons, this method was a tee-kee-tee kee-tee-kee. This triple tonguing method is most likely the fastest if done correctly. The reason for this is that the tee and kee never repeat itself. Earl D. Irons is the author of 27 Groups Of Exercises, a book full of lip-slurs, double tonguing, and triple tonguing. [4] Such as:

eighth note - quarter note (=dotted quarter note.)
tu-ru

There are different ways of tonguing for the flute. Some flutists tongue between the teeth; others do it between the lips as if spitting; others do it behind the teeth in the roof of the mouth as with trill consonants. With this roof articulation the flutist thinks of the words dah-dah and for double tonguing it is dah-gah-dah-gah.

Tonguing is indicated in the score by the use of accent marks. The absence of slurs is usually understood to imply that each note should be tongued separately. When a group of notes is slurred together, the player is expected to tongue the first note of the group and not tongue any of the other notes, unless those notes have accent marks.

Trombone players must lightly tongue many slurs by tonguing "da"; otherwise, the result would be a glissando. The bagpipes require finger articulations ("graces"), since direct tonguing is impossible.[5]

See also

[edit]

Sources

[edit]
  1. ^ Encyclopædia Britannica, 11th ed., Vol. 15, p. 764.
  2. ^ Arban's Complete Conservatory Method for Trumpet The Authentic Edition, p.7
  3. ^ a b Arban's Complete Conservatory Method for Trumpet The Authentic Edition, p.153
  4. ^ Brown, Rachel (2003). The early flute: a practical guide, p.23. ISBN 0-521-89080-2.
  5. ^ Kite-Powell, Jeffery (2007). A Performer's Guide to Renaissance Music, p.98. Indiana University. ISBN 9780253013774.
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tonguing

View on Grokipedia
from Grokipedia
Tonguing is a fundamental articulation technique employed by instrumentalists to initiate and separate notes by briefly interrupting the steady through the instrument using the , thereby controlling the attack, duration, and clarity of each note. This method applies to both woodwind instruments, such as the , , , and , where the lightly strikes the mouthpiece or reed to modulate , and instruments, like the , , and , where it closes and opens the passage between the lips and mouthpiece to achieve precise note separation. The technique encompasses several variations tailored to musical demands and instrument characteristics. Single tonguing, the most basic form, involves syllables like "t" or "d" to produce clear, punctuated articulations suitable for moderate tempos, with the tip typically contacting the of the or behind the upper teeth for an or softer attack, respectively. Double tonguing alternates between "tu-ku" or "ta-ka" syllables to facilitate rapid passages, enabling performers to articulate notes at speeds unattainable with single tonguing alone, while triple tonguing employs patterns like "tu-ku-tu" for complex rhythms such as triplets. , a specialized , creates a rapid, trilling effect by rolling the as in a Spanish "r" or , adding expressive color to melodies on instruments like the or . Tonguing enhances rhythmic precision, phrasing, and dynamic expression, requiring consistent practice to integrate seamlessly with breath support and embouchure stability. On woodwinds, the choice of consonant sounds influences articulation quality—"t" for crispness and "d" for gentleness—while vowels like "ee" or "oh" adjust voicing to suit the instrument's register. For brass players, tonguing refines the initial tone without overpowering the air stream that generates pitch, with adjustments for register to maintain embouchure efficiency. Mastery of these elements allows musicians to convey musical intent through varied articulations, from legato to staccato, across genres including classical, jazz, and orchestral repertoires.

Fundamentals

Definition and Purpose

Tonguing is a fundamental articulation technique employed by wind instrument performers, involving the use of the tongue to momentarily interrupt the steady airflow, thereby initiating and separating notes with precise attacks and releases. This method acts as a valve for the airstream, allowing the player to control the onset of each tone by touching the tongue tip to a specific point in the oral cavity, such as near the teeth or reed, without altering the overall breath support. The primary purpose of tonguing is to achieve varied through articulation control, ranging from —producing short, detached notes with sharp interruptions—to more subtle applications that support phrasing by gently connecting tones while maintaining clarity. It enhances rhythmic precision, phrasing, and overall tone quality, enabling performers to convey dynamic contrasts and emotional nuance in a composition. Multiple tonguing techniques, such as double or triple tonguing, extend this basic function for faster passages but build directly on the foundational single-tongue interruption.

Physiological Basis

Tonguing in wind instruments relies on the precise anatomy of the tongue, particularly its tip, which is controlled by extrinsic muscles such as the genioglossus, responsible for protrusion, depression, and retraction to enable rapid, targeted movements. The genioglossus, originating from the mandible and fanning into the tongue body, facilitates the forward and downward positioning necessary for the tongue tip to intermittently contact the reed in woodwind instruments or the inside of the lips or gums behind the upper teeth in brass instruments, while also allowing contact with the teeth or palate for articulation control. In woodwinds, the tongue tip strikes the reed's tip to initiate vibration; in brass, it briefly interrupts the airstream by contacting the inside of the lips or the gums behind the upper teeth. The core mechanism of tonguing involves the tongue momentarily blocking the air column in the oral cavity, producing a clean, percussive onset by starting the reed or lip vibration without disrupting the established embouchure or steady airflow support. In reed instruments, this brief occlusion can create a pressure transient akin to a water hammer effect, rapidly increasing mouthpiece pressure and exciting higher harmonics for note attack, while the tongue retracts swiftly to resume airflow, maintaining tonal consistency. The interruption duration remains relatively invariant across dynamics and tempos in moderate articulations like portato, averaging around 37 milliseconds in clarinet performance, ensuring minimal disruption to the overall breath stream. Variations in tongue position and syllable formation significantly influence attack character and tone quality, with the choice of vowel shaping altering the oral cavity's resonance. For instance, a "ta" syllable positions the higher and more forward, producing a brighter, more percussive attack by narrowing the oral and accelerating ; in contrast, "la" or "da" syllables lower the slightly, yielding softer, rounder onsets through a more form that enhances warmth and reduces harshness in the initial transient. These adjustments modulate the vocal tract's geometry, affecting harmonic emphasis and overall without altering tension. Prolonged tonguing, especially in rapid or extended passages, can lead to tongue or strain due to repetitive activation of the extrinsic and intrinsic lingual muscles, resulting in , reduced precision, or even minor lesions in less experienced players. To prevent such issues, musicians can incorporate targeted exercises, such as pressing the against the for several seconds and repeating five times to build , or tracing circles with the tongue tip in each direction five times to improve mobility and reduce overuse strain. Consistent breath support and gradual practice progression also mitigate by distributing effort across the respiratory and orofacial systems.

Techniques

Single Tonguing

Single tonguing is the foundational articulation technique in performance, involving a single stroke of the to initiate each note by briefly interrupting the . This method provides clear separation between notes while maintaining consistent tone production, essential for moderate-tempo passages in musical repertoire. It relies on precise coordination between breath support, formation, and minimal movement to avoid disrupting or tone quality. To execute single tonguing, the performer first inhales deeply to prepare adequate air support, forms the proper for the instrument, and initiates a steady as if sustaining a long tone. The then articulates by lightly touching the point of vibration—such as the reed on single-reed woodwinds or the upper teeth/ on —with a quick flick to start the note, immediately returning to a neutral position (like an "ah" shape) to allow uninterrupted air continuation. For instruments, this typically uses a dental "t" or "d" stop against the roof of the mouth; on reed instruments like or , the tip taps the reed's tip from below. Common syllables for single tonguing include "tu" or "du" on for a crisp or mellow attack, respectively, and "ta," "tee," or "tu" on woodwinds to ensure light contact and even response. The "tu" syllable produces a brighter, more defined sound suitable for effects, while "du" or "dee" yields a softer, legato-like onset. For enhanced evenness in practice, alternating syllables like "tu-ku" or "ta-ka" can be vocalized before playing, though single notes use one syllable per articulation; this results in a clean, resonant tone when air pressure remains constant. Single tonguing supports moderate tempos, typically up to 120-140 beats per minute in sixteenth notes, beyond which multiple tonguing may be necessary for faster passages. Precision is developed through exercises such as articulating long tones in repeating patterns—all staccato on a single pitch—or scales with consistent attacks and releases, starting slowly to build control before increasing speed. These practices emphasize timing the with , using tools like mirrors to monitor minimal movement. Frequent errors include over-tonguing, where excessive tongue pressure creates harsh, choked attacks and slows response, or under-tonguing, leading to slurred or indistinct notes from insufficient contact. Other issues on woodwinds involve stopping the air entirely or moving the , resulting in inconsistent tone. Corrections focus on maintaining steady breath support during articulation—practicing "hiss" sounds with tongue flicks—and simplifying to mouthpiece-alone exercises; for over-tonguing, shift to softer syllables like "du" or "dee," while under-tonguing improves with vocalization drills like "tah-tah-tah" matched to played notes.

Multiple Tonguing

Multiple tonguing techniques enable instrumentalists to achieve rapid articulation rates that surpass the limitations of single tonguing by alternating between the front and back of the to produce multiple notes per full tongue cycle. Double tonguing, a foundational multiple tonguing method, employs alternating syllables such as "tu-ku" or "ta-ka," where the "tu" or "ta" involves the tongue tip contacting the mouthpiece or reed, and the "ku" or "ka" uses the back of the tongue against the . This alternation allows for two articulations per tongue stroke, facilitating speeds of up to 172 beats per minute on average for professional players, with exceptional performers reaching 238 bpm. Triple tonguing extends this principle to three-note groupings, typically using patterns like "tu-tu-ku" or "ta-ta-ka," which combine two front-tongue with one back-tongue . These patterns are particularly effective for executing triplets, scales, or arpeggios at high velocities, as seen in demanding orchestral and solo for and woodwind instruments. The technique maintains the rhythmic precision of single tonguing while doubling or tripling the note output per second. Developing proficiency in multiple tonguing requires starting at slow tempos with a to ensure evenness between syllables and to minimize interruptions in airflow, gradually accelerating while preserving tone quality. Structured exercises from pedagogical resources, such as those in J.B. Arban's Complete Conservatory Method for Trumpet, emphasize repetitive patterns on major scales and arpeggios to build coordination and endurance. A common variation in double tonguing is inverting the syllable order to "ku-tu" or "ka-ta," which shifts emphasis to the back-tongue articulation for passages requiring altered dynamics or phrasing. These methods impose significant physiological demands on the muscles, involving coordinated elevation of the tongue's posterior for the "k" to enable the increased speed.

Advanced Articulation Methods

Flutter-tonguing involves a rapid, trilling vibration of the against the roof of the or teeth, mimicking a rolled "r" , to produce a tremolo-like buzzing effect on wind instruments. This technique creates a characteristic fluttering by interrupting the airflow in a continuous, wave-like manner, distinct from standard rhythmic tonguing. It is achievable on most and woodwind instruments through either the tip of the or the back of the , depending on the performer's . A seminal example of its use appears in Tchaikovsky's (1892), where it was one of the earliest prominent applications in orchestral repertoire to evoke exotic or shimmering textures. Slap tonguing employs a sharp withdrawal of the tongue from the reed or mouthpiece after creating a vacuum seal, resulting in a percussive "pop" or slap sound as the reed or lips snap back. This is particularly effective on single-reed instruments like the , where it produces a highly damped of the reed for dramatic, non-pitched accents. It is commonly featured in contemporary clarinet literature to add rhythmic punctuation or timbral variety, as seen in works by composers such as Theo Loevendie. While less prevalent in traditional on compared to , it enhances expressive effects in modern ensemble settings. Ghost tonguing achieves subtle, breathy interruptions by lightly grazing the tongue against the reed or mouthpiece, yielding a muted or hazy articulation without fully stopping the airflow. This method, often termed "half-tonguing" or producing "ghost notes," dampens the attack for a softer, less defined onset, ideal for creating veiled or shadowy passages. It is employed in modern orchestral scores to evoke atmospheric ambiguity, such as in contemporary works requiring nuanced woodwind textures for coloristic purposes. Building on basic single tonguing as a foundation, ghost tonguing allows performers to integrate faint accents into legato lines for enhanced subtlety. Advanced tonguing methods often combine with dynamic variations to heighten expressivity, such as gradually increasing tonguing intensity to build crescendos within articulated phrases. By modulating the force and speed of tongue contact alongside breath pressure, performers can achieve seamless swells from piano to forte without relying solely on air volume, thereby maintaining clarity in rapid passages. This integration is crucial for interpretive depth in soloistic or ensemble contexts, where tonguing influences not only attack but also overall tone production and sustain.

Applications by Instrument

Brass Instruments

In brass instruments, tonguing primarily involves the tongue lightly striking the or the rim of the mouthpiece to interrupt the and initiate articulation, while preserving the continuous of the essential for tone production. This interaction is achieved through syllables such as "tu," which positions the tip to contact the upper or teeth without inserting between the , thereby avoiding disruption to the and buzz. The technique relies on a steady passing through the , with the acting as a to start and stop notes cleanly, as visualized in studies of oral cavity dynamics during performance. Instrument-specific adaptations highlight variations in embouchure and tonguing syllables to suit mechanical differences. On the , a relatively firm favors the crisp "ta" syllable for sharp, percussive attacks, ideal for fanfare-like passages that emphasize brilliance and precision. In contrast, the trombone's looser and slide mechanism accommodate smoother "la" tonguing, which softens articulations to conceal glissandi during slides and promotes a more rounded tone. These approaches ensure that tonguing enhances rather than hinders the instrument's inherent acoustics, such as the trumpet's brighter versus the trombone's deeper resonance. A notable application appears in Hector Berlioz's , where calls—particularly the and horn fanfares in the fourth movement's "March to the Scaffold"—require precise single and double tonguing to articulate rhythmic motifs with clarity and energy amid the orchestral texture. Acoustically, tonguing influences the onset of lip vibration, delaying or sharpening the attack to shape ; in high registers, a raised tongue position during articulation narrows the oral cavity, amplifying brighter harmonics and contributing to the instrument's projective power. This effect is particularly evident in rapid passages, where multiple tonguing maintains evenness without altering the fundamental lip reed mechanism.

Woodwind Instruments

In woodwind instruments, tonguing primarily involves the interrupting the airflow at the reed or to produce articulated notes, with the lightly contacting the reed tip in both single-reed and double-reed instruments for precise attacks. For single-reed instruments such as the and , the strikes the underside of the reed tip with a flat position, using a like "ta" to create clean, defined articulations by momentarily damping the reed's before release. This contact typically lasts around 34.5 milliseconds in portato-style playing, causing a phase inversion in reed motion that shapes the note's onset. Double-reed instruments like the and require similar tongue-to-reed contact at the tip, but with a softer approach using syllables such as "dah" or "du" to initiate vibration without closing the reed prematurely. In the , this gentler "da" syllable helps prevent reed choking by minimizing excessive pressure, allowing sustained airflow for the instrument's lower register. The , lacking a reed, employs tonguing by touching the tip of the tongue to the roof of the mouth just behind the upper teeth, producing an airy yet precise articulation that modulates the airstream across the embouchure hole. These techniques interact with fingering to enable rapid passages, as seen in Mozart's in , K. 622, where the third movement features articulated runs blending single and multiple tonguing for agile, scalar lines. Performers adjust tonguing precision to match dynamic demands, ensuring smooth transitions between slurred and tongued notes in orchestral contexts. A key challenge in woodwind tonguing is moisture buildup on the reed, which can distort tone and slow response during extended play, particularly in single-reed instruments where accumulates on the reed's surface. Players adapt by using lighter tongue contact on wet reeds to maintain clarity, or briefly drying the reed for consistent articulation in dry conditions, preserving reed responsiveness across performances. Advanced flutists may briefly reference , a rolled "r" of the tongue, for ethereal effects in contemporary works.

Historical Development

Origins in Music Performance

The roots of tonguing techniques in music performance trace back to the period, where they emerged as essential methods for articulating notes on wind instruments such as the and . In 16th-century Italian treatises, performers were instructed to use "lingua" methods to produce clear, vocal-like articulations, particularly for rapid passages and ornamentation. For instance, Silvestro Ganassi dal Fontego's La Fontegara (1535) describes "lingua di gorgia," a tonguing style mimicking the throat articulations of singers in passaggi, using syllables like "le-re" to achieve smooth yet defined note separation on recorders and flutes, principles that extended to brass and reed instruments like the . Similarly, Girolamo Dalla Casa's Il vero modo di diminuir (1584) details "lingua riversa" (reversed tongue) for the , employing "re-le" syllables to imitate the fluid gorgia of Italian vocal music, avoiding harsher "te-ke" attacks deemed barbarous. These techniques prioritized vocal mimicry, enabling wind players to replicate the expressive diminutions prevalent in and early . By the era, tonguing became more formalized, particularly for and other woodwinds, as documented in Johann Joachim Quantz's influential Versuch einer Anweisung die Flöte traversière zu spielen (1752). Quantz outlines specific syllables for articulation—such as "ti" or "di" for single tonguing, "tiri" for triple, and "did'll" for double tonguing—to execute ornaments like mordents and trills with precision and evenness. He emphasizes that these methods enhance the flute's ability to convey affective expression in solo and ensemble contexts, drawing from Italian and French stylistic influences to produce passages interrupted by subtle tongue stops. This systematization reflected the growing demand for idiomatic wind writing in chamber and orchestral , where tonguing facilitated dynamic contrast and rhythmic vitality. In early 18th-century French hautbois () methods, tonguing was distinguished from slurring to achieve varied articulations suited to the instrument's lyrical role. Jacques Hotteterre's Principes de la flûte traversière (1707), applicable to oboe through shared woodwind , describes "piqué" as a light, tonguing using quick contacts to "prick" notes, contrasting with fully slurred (lié) phrases for smoother lines. This differentiation allowed oboists to alternate detached and connected articulations, enhancing the instrument's of vocal inflections in French court music. Such practices underscored tonguing's role in balancing technical clarity with expressive nuance in ensemble playing. Cultural influences from significantly shaped these early tonguing developments, as wind players sought to emulate the agile, throaty articulations of singers in recitatives and arias. and early treatises like those of Ganassi and Dalla Casa explicitly link wind tonguing to operatic gorgia, promoting syllables that replicate vocal closures for dramatic effect. This vocal imitation persisted into the , influencing Quantz's ornamentation and French methods to prioritize idiomatic expression over mechanical uniformity.

Evolution in Orchestral and Band Contexts

In the Romantic era, composers like significantly advanced tonguing techniques in orchestral settings through their expansive use of brass and woodwind sections to support leitmotifs in operas such as the Ring Cycle, composed between the 1850s and 1870s. Wagner's scores demanded greater precision and speed from wind players, often requiring multiple tonguing for rapid passages that underscored thematic motifs, reflecting the era's emphasis on expressive power and orchestral color. Military band traditions in the late 19th century further refined single tonguing for crisp, detached articulation, particularly in marches by from the 1890s, where it provided the rhythmic drive essential to ensemble precision during outdoor performances. Sousa's compositions, such as (1896), relied on this technique to achieve the sharp, unified attacks characteristic of , enhancing the music's martial energy without the complexity of multiple tonguing. The introduced innovative tonguing methods influenced by diverse styles, including jazz's swing articulation—a light, off-beat tonguing that emphasized and was adapted into orchestral and band repertoires for more fluid phrasing. Igor Stravinsky's (1913) exemplified this evolution by employing in the woodwinds during sections like "The Augurs of Spring" to evoke primitive, ritualistic effects through a trilling "rrrr" produced by rolling the tongue. Notation for tonguing also evolved during the 19th and 20th centuries, transitioning from verbal instructions in scores to standardized symbols like dots, which indicated detached, tongued notes on wind instruments by shortening duration and implying articulation separation. This shift, evident in Romantic and early modern orchestral parts, allowed composers to specify precise tongued effects without lengthy descriptions, facilitating clearer ensemble execution.

Practice and Pedagogy

Exercises for Development

Developing tonguing skills requires a progressive approach, starting with foundational exercises that emphasize control, consistency, and steady . For beginners, routines often include vocal drills to build awareness of interruption. Using a set at 60 beats per minute (bpm), players vocalize syllables like "tah" before playing four even-duration , ensuring immediate note starts and consistent tone quality without pitch variation. As comfort increases, these patterns extend to full scales, gradually raising the to 80 bpm while maintaining clean attacks and releases. This method, derived from structured vocal drills, helps establish precise timing and reduces initial fatigue in the and . Intermediate drills shift focus to multiple tonguing for greater speed and musicality, incorporating double tonguing patterns on major scales. Players practice scales with "ta-ka" syllables, starting at quarter notes and progressing to 16th notes at 100 bpm or faster, using a to ensure evenness across registers. For woodwinds, similar drills adapt to reed contact, such as light "ta" touches on the reed for clarity. Adaptations of vocalises, such as those from Giulio Marco Bordogni's 24 Vocalises (transcribed for winds by H. Voxman), provide melodic contexts for these drills, allowing transposition to different keys while emphasizing rhythmic precision and dynamic variation. These exercises, typically 10-15 minutes daily, enhance coordination between tongue and airflow, preparing for more demanding . For speed-building and endurance, triple tonguing etudes target rapid passages common in orchestral and solo works. Herbert L. Clarke's Technical Studies for the (1912) offers targeted studies using "ta-ka-ta" patterns on arpeggios and scales, performed at progressively faster tempos (e.g., starting at 80 bpm for ) to develop stamina without sacrificing tone clarity. For flutes, analogous etudes emphasize airy support to avoid reed-like resistance. Focus on full-range exercises, repeating each etude 3-5 times with short rests to build muscular endurance, ensuring the rebounds efficiently for sustained sessions of 20 minutes or more. Physiological fatigue can be managed by alternating triple tonguing with single tonguing rests every few repetitions. To refine technique, recording and provide objective feedback on articulation evenness. Musicians should record practice sessions using a or recorder, then listen critically for inconsistencies in attack sharpness, note separation, and volume balance across tongued passages. Compare recordings weekly against a track, adjusting based on audible gaps or unevenness, which promotes independent improvement and highlights progress in real-time.

Common Challenges and Solutions

One common challenge in tonguing is , particularly during extended solos or passages requiring sustained articulation. This issue often arises from overuse without adequate recovery. To address it, performers can incorporate rest intervals between repetitions of long articulated phrases, allowing the to recover while maintaining overall session duration. For woodwinds, reed players may mitigate fatigue by adjusting reed strength to reduce resistance. Strengthening exercises, such as isolated repetition (e.g., verbalizing "ta-ka" or "ti-ki" slowly without the instrument), build endurance by isolating tongue movements and promoting relaxation. Inconsistent attacks, where notes begin unevenly or with unclear definition, frequently stem from irregular air support that disrupts the precise timing between tongue contact and airflow initiation. This can result in weak or delayed starts, especially if the tongue engages too heavily or the airstream falters. Remedies include breath control drills to synchronize steady air expulsion with light tongue touches, ensuring consistent pressure. Mirror practice, where performers observe their embouchure and jaw during slow articulations, further aids correction of uneven habits, fostering precise, light contact. Tempo limitations often manifest as breakdowns in articulation clarity at high speeds, where the tongue's movement becomes labored, leading to blurred or uneven notes beyond a certain threshold (typically 120-140 beats per minute for single tonguing). To overcome this, "slow motion" practice—executing articulations at half with exaggerated, deliberate tongue motions—helps ingrain efficient mechanics before gradual acceleration using a , increasing speed by 5-10 bpm increments per session. This method minimizes unnecessary motion and builds coordination without fatigue. Style mismatches occur when tonguing approaches do not align with genre-specific demands, such as employing a soft, detached "d" syllable for music's lighter, ornamental articulations versus a sharper, more percussive "t" for the aggressive accents in contemporary works. Adapting requires studying period treatises; for instance, 18th-century techniques emphasize varied tonguing syllables like "di-ri" for inequality, while modern styles favor multiple tonguing for rhythmic drive. For blending, wind sections should match attack uniformity by practicing unison scales with identical syllables and dynamics, listening to ensure cohesive phrasing across and woodwind timbres—such as softening woodwind reeds to blend with warmth. Instrument-specific tweaks, like adjusting reed position for clarity, support these adaptations.

References

  1. https://dictionary.onmusic.org/terms/3621-tonguing
  2. https://www.m5music.hk/en/dictionary/tonguing/
  3. https://bretpimentel.com/tonguing-and-language-sounds/
  4. https://theinstrumentalist.com/december-2016-flute-talk/flutter-tonguing/
  5. https://www.mcauslandmusic.com/post/what-is-tonguing-on-the-clarinet-and-saxophone
  6. https://wilktone.com/?p=2024
  7. https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1520&context=cgu_etd
  8. https://conservancy.umn.edu/bitstreams/1883d60e-6460-4249-803f-bf99e0cef57f/download
  9. https://repository.up.ac.za/bitstreams/f8f695a1-2e1f-4594-9c1c-d7ff8249bb16/download
  10. https://uknowledge.uky.edu/cgi/viewcontent.cgi?article=1277&context=music_etds
  11. https://www.ncbi.nlm.nih.gov/books/NBK545141/
  12. https://pmc.ncbi.nlm.nih.gov/articles/PMC5936989/
  13. https://pub.dega-akustik.de/ISMA2019/data/articles/000072.pdf
  14. https://newt.phys.unsw.edu.au/jw/reprints/Wind-Instrument-Overview.pdf
  15. https://pmc.ncbi.nlm.nih.gov/articles/PMC6587030/
  16. https://pmc.ncbi.nlm.nih.gov/articles/PMC10381963/
  17. https://pressbooks.palni.org/brasstechniquesandpedagogy/chapter/articulation-on-brass-instruments/
  18. https://apps.texasbandmasters.org/archives/pdfs/clinic/2020_chilton.pdf
  19. https://idahomusiced.org/events/conference/handouts/Woodwind%20Teaching%20Tips%20flyer.docx.pdf
  20. https://www.researchgate.net/publication/264516426_Tonguing_on_brass_instruments_-Highspeed_Visualization_and_Benchmarks_of_fastest_Tempi_Visualization_of_Tongue_Motions_A
  21. https://theinstrumentalist.com/april-2016/multiple-tonguing/
  22. http://www.conforg.fr/isma2014/cdrom/data/articles/000057.pdf
  23. https://brianreichenbach.com/2021/12/08/multiple-tonguing/
  24. https://www.bbtrumpet.com/triple-tonguing/
  25. https://quod.lib.umich.edu/cgi/p/pod/dod-idx/synthesizing-timbre-tremolos-and-flutter-tonguing-on-wind.pdf?c=icmc;idno=bbp2372.2004.037;format=pdf
  26. https://scholarship.miami.edu/view/pdfCoverPage?instCode=01UOML_INST&filePid=13402838290002976&download=true
  27. https://pubs.aip.org/asa/jasa/article/155/3_Supplement/A194/3301001/Extended-playing-techniques-as-a-source-of-unusual
  28. https://www.bostonnewmusic.org/Instrument-Technique-Archive
  29. https://digital.library.unt.edu/ark:/67531/metadc1703365/m2/1/high_res_d/ELLARD-DISSERTATION-2020.pdf
  30. https://clarinet.org/etude-and-method-books-for-bass-clarinet/
  31. https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2018.00617/full
  32. https://iwk.mdw.ac.at/hofmann/mypapers/2012_The_influence_of_tonguing_on_tone_production_with_single_reed_instruments.pdf
  33. https://webspace.pugetsound.edu/facultypages/jscott/camp%2520handout%25202007.pdf
  34. https://pressbooks.palni.org/brasstechniquesandpedagogy/chapter/tone-production-fundamentals-on-the-mouthpiece/
  35. https://www.trumpetlessons.com/trumpettonguing.html
  36. https://etd.ohiolink.edu/acprod/odb_etd/ws/send_file/send?accession=ucin1271707257&disposition=inline
  37. https://www.alfred.com/symphony-fantastique-iv-march-to-the-scaffold-1st-b-flat-trumpet/p/98-PC-RWS2101_T1/
  38. http://www.internationalphoneticassociation.org/icphs-proceedings/ICPhS2015/Papers/ICPHS0547.pdf
  39. https://oboehelp.com/articulation/
  40. https://www.researchgate.net/publication/230845040_The_influence_of_tonguing_on_tone_production_with_single-reed_instruments
  41. https://buildingabassoonist.com/2021/03/05/bassoon-tonguing-and-articulation-how-to-make-it-cleaner-and-faster/
  42. https://www.flute.school/blog/clearer-flute-tonguing
  43. https://owd.tcnj.edu/~mckinney/tonguing.htm
  44. http://test.woodwind.org/clarinet/BBoard/read.html?f=1&t=81191&a=2
  45. https://thefluteexaminer.com/pedagogical-approaches-to-extended-techniques/
  46. http://www.rachonpiotr.com/wp-content/uploads/2017/06/237_ornamentation_in_early_seventeenth_century_italian_music.pdf
  47. https://opus.bsz-bw.de/hfmfr/files/1961/dissertation_suganuma.pdf
  48. https://dikmans.net/hpp/quantz/Quantz-on-Articulation-v1.pdf
  49. https://escholarship.mcgill.ca/downloads/nv935828x?locale=en
  50. https://earlymusic.dikmans.net/hotteterre-on-rhythmic-alteration/
  51. https://www.examenapium.it/cs/biblio/Kite2007.pdf
  52. https://www.lyricopera.org/lyric-lately/Instruments-of-the-RING/
  53. https://fiveable.me/opera/unit-14/orchestration-techniques-operatic-styles/study-guide/AOWAJSmRb2WBd95m
  54. https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/
  55. https://theinstrumentalist.com/december-2012/making-the-most-of-marches/
  56. https://bandworld.org/magazine/index.php/jazz-pedagogy-learning-to-play-using-authentic-jazz-articulations/
  57. http://musicbcs.weebly.com/uploads/2/5/1/5/25157303/a-level-stravinsky-set-work-support-guide.pdf
  58. https://www.britannica.com/art/musical-notation/Evolution-of-Western-staff-notation
  59. https://go.gale.com/ps/i.do?id=GALE%257CA14740043&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=03061078&p=AONE&sw=w
  60. https://pressbooks.palni.org/brasstechniquesandpedagogy/wp-content/uploads/sites/4/2020/08/Speak-and-Play-Full-Score.pdf
  61. https://trumpetstudio.com/intermediate.html
  62. https://trumpetstudio.com/clarke.html
  63. https://repository.lsu.edu/cgi/viewcontent.cgi?article=2010&context=gradschool_dissertations
  64. https://adam-ballif.squarespace.com/s/ClariNotes3.pdf
  65. https://bandworld.org/magazine/index.php/training-the-woodwind-section-in-full-band-rehearsal/
Add your contribution
Related Hubs
User Avatar
No comments yet.