Disclaimer: An amateur's comment follows and may be worth very little.  If
you've got one, run it by the teacher first.

I started on the trumpet, but changed to the horn when a sophomore in high
school, and I could double tongue on the trumpet when I left it but I
couldn't on the horn.  I fortunately (or unfortunately?) have been able to
single tongue just about everything I've played since the change, including
Sherezade way back in college.  I know this is a shortcoming by professional
standards.  Fortunately, my livelihood does not depend on my double tonguing
skill: horn playing is my avocation, and for over 27 years my audiences have
either been pleased, unaware, or forgiving despite the 'deficiency'.

What I want to offer to those who struggle with double to triple tonguing is
something I've noticed.  The quality of my double tonguing technique appears
to be a function of the mouthpiece I use.

I am not at all suggesting that a particular model is more suited to double
tonguing.  I am not suggesting that one should  go out and switch to a
mouthpiece that allows one to double tongue at the expense of all other
playing qualities.  I am only suggesting that one's inability to double
tongue may have something to do with the mouthpiece and embouchure used.

Before you concede defeat in the pursuit of skill in double or triple
tonguing, try to do it on something other than your normal mouthpiece.  It
may be that in the process of discovering a new-found facility, you can
diagnose the mechanics that allow the improved facility and investigate how
you can apply them to the your normal mouthpiece - or maybe reconsider why
you selected your normal mouthpiece.

Russ Smiley
Marlborough, CT

----- Original Message -----
From: "Karen McGale Fiehler" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Wednesday, November 13, 2002 10:23 AM
Subject: Re: [Hornlist] triple tonguing


> >From: [EMAIL PROTECTED] (Prof.Hans Pizka)
> >
> >But the heck, why do you want a triple tongue, for what music ????
>...tons
> >of excerpts for all horn parts from 4rth to 1st
>
> I sure can't play "Scheherezade" or the opening of "Don Juan" without
triple
> tonguing!
>
> There are some people who just can't single tongue very quickly.  I was
> amazed to find that Tom Bacon double tongues lots of music that I find
very
> easy to play single tongued.  He just doesn't have a fast tongue, but when
> you listen to him you certainly can't tell the difference!
>
> Because I have a fast, clean single tongue my teachers never thought to
> teach me how to double or triple tongue, most likely because I never asked
> them how.  The first time I sat down to play "Don Juan" I was in a panic -
I
> couldn't single tongue that fast and my double tonguing sounded horrible!
> I'd prefer that my students not face such a wake-up call, so I have them
> learn double tonguing by their second year of university.  Kopprasch #10
is
> a great etude to begin the concept of double tonguing, in my opinion.
> (Scales too!)  Remove the slurs, and play the entire etude slowly with
just
> "kuh" or "duh."   When the back of your tongue has become coordinated in
> articulation, change to "tuh-kuh" or "duh-guh" and strive to make no
audible
> difference in the articulation.  Then gradually increase the speed of the
> etude, keeping the even articulations.
>
> I still play Kopprasch #10 in this way a couple of times a week.  I also
> practice my triple tonguing in a simliar manner.  I consider it a useful
> review of a fundamental skill that I use as a horn playing musician.
>
> karen
> ******************************************************
> Dr. Karen McGale Fiehler
> Lecturer of Horn
> Northern Arizona University
> http://www4.nau.edu/cofa/music/fac_pages/faculty_f.htm
> http://www.hornplanet.com/hornpage/miss_karen/main.asp
>
>
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