I also am a great fan of Martin and also am Awed by his tonging speed. At my age (82), it is impossible to play that fast. You did one heck of a job...Thanks
I was very impressed that I did not hear that “Dugga Dugga” sound when you practiced the double tonguing, both slowly and when you played it fast. Bravo 👏👏
Thanks Franco! I unfortunately don’t have a link to the music (I only found the one transcribed page that I practiced on google images.) You should try searching for “Martin Frost let's be happy sheet music” (I don’t know if the piece itself is published anywhere though!)
I think the process of learning double tonguing comes kind of naturally for some people, but it definitely didn’t for me. It took a long time and a lot of experimentation to figure out what I could get to consistently work. I would try a bunch of different syllables and see what seems to work best. For me “Dee-Gee” seems to work for most cases. But something else may work better for you! Double tonguing in the upper clarion and altissimo is pretty difficult no matter what, and usually I try to avoid it unless its only a handful of notes moving through those areas of the instrument. I think what also helped was isolating the “Gee” syllable and alternating practicing single articulation using that instead of my normal “Dee/Tee” syllable. Once that started to feel more solid/comfortable I was able to start really speeding things up!
Thanks! For this video I was using 3.5 strength Vandoren 56 Rue Lepic reeds. I typically put all my equipment choices in the description box of each video, since they change relatively often!
Ya, sorry, I know it’s not very helpful! The barrel is a prototype made specifically for my instrument by a friend who doesn’t sell the barrels yet and would preferred to not have their name shared at this time. Normally, I wouldn’t mention it at all, but the barrel looks different and I figured someone would ask about it eventually.
He is of course a fantastic player but so much movement causes the Doppler effect in recordings, something which I have also noticed with a few other players who move so much. The result is unacceptable for pure listening. Fröst depends upon aspects of theatre to connect with his audiences and that's fine. He's not my go to performer if I just want to hear pure, unaffected performance. Martin is a one-off, a unique player that nobody should try to copy. Well that's my excuse anyway!
Thank you for your comments. I am an old school player taught to stand still. Martin is an amazing player but I much prefer to listen to him and not watch him he reminds me of the tennis players who grunt! It puts me off watching and no doubt the player on the other side of the net unless they are a grunted too. Yes he is a one off. Recently I watched a documentary about the late Jack Brymer of the London Symphony Orchestra. To me he made the most amazing clarinet sound ever! But years ago he was criticised for using vibrato. He got the idea I believe from listening to great singers and trying to be expressive like them and he succeeded. He played the instrument was great ease. Martin probably has fans that like to see him dancing as well as playing the clarinet! Once again thank you for this comment which I have almost being afraid to comment on - God bless you and yours -Bill UK 2:24
@@billducker7404 Yes, Brymer's sound was even more special heard live and many professional players in the UK still feel it's the best they have heard from a clarinet. There are still some interesting variations in clarinet sound across the world, even when players are now using similar setups. Dare I say that if you could bring Jack back and hear a few phrases played by him and then compare to many leading players today the astute non-clarinet playing listener would choose Jack for the rich sonority that was his trademark. Having said all that you will find many US clarinettists would not hear it this way. A straight, almost unyielding tone is still preferred by many - at least that's the way I hear it - it's not playing that is 'on the breath' - very much a hallmark of the English sound.
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I also am a great fan of Martin and also am Awed by his tonging speed. At my age (82), it is impossible to play that fast. You did one heck of a job...Thanks
Thanks for watching Bob! His top articulation speed really is insane, maybe one day I’ll get there!
I was very impressed that I did not hear that “Dugga Dugga” sound when you practiced the double tonguing, both slowly and when you played it fast.
Bravo 👏👏
Thank you! I appreciate the kind words!
Awesome video! Really enjoyed how you structured your practice for this solo
Thanks for watching Eduardo! It’s definitely something I had to do in a structured way, it’s too overwhelming otherwise 😅
Editing on point once again!
Thank you!!! 🙌
Fantastic ! Absolutely interesting! now It Is possibile to known the piece of music used in your exercise ?
Thanks Franco! I unfortunately don’t have a link to the music (I only found the one transcribed page that I practiced on google images.) You should try searching for “Martin Frost let's be happy sheet music”
(I don’t know if the piece itself is published anywhere though!)
Ok I'try !! Thanks
Very good!
Thanks!!
I know clarinettists,who play Baltic stile music who double staccato as fast as a machine gun, litteraly
Martin has an unfair advantage, he's an alien and has like 4 tongues.
TRANSCRIPTION ONLINE???? DId it cost money? I've been searching everywhere!
What syllables do you use when double tonguing? I have problems in the clarion and altissimo register in getting an acceptable tone. Any suggestions?
I think the process of learning double tonguing comes kind of naturally for some people, but it definitely didn’t for me. It took a long time and a lot of experimentation to figure out what I could get to consistently work. I would try a bunch of different syllables and see what seems to work best. For me “Dee-Gee” seems to work for most cases. But something else may work better for you! Double tonguing in the upper clarion and altissimo is pretty difficult no matter what, and usually I try to avoid it unless its only a handful of notes moving through those areas of the instrument. I think what also helped was isolating the “Gee” syllable and alternating practicing single articulation using that instead of my normal “Dee/Tee” syllable. Once that started to feel more solid/comfortable I was able to start really speeding things up!
Pretty good actually 🔝
Haha thanks!
Can you send the link to the sheet Music?
Wooow!!! You have the sheet?
I’m afraid I don’t, sorry!!
what reeds are you using? Great video tho
Thanks! For this video I was using 3.5 strength Vandoren 56 Rue Lepic reeds. I typically put all my equipment choices in the description box of each video, since they change relatively often!
How does it means “custom barrel” which model??
Ya, sorry, I know it’s not very helpful! The barrel is a prototype made specifically for my instrument by a friend who doesn’t sell the barrels yet and would preferred to not have their name shared at this time. Normally, I wouldn’t mention it at all, but the barrel looks different and I figured someone would ask about it eventually.
Let's see him do it with the mouthpiece turned around.
💪💪💪👍👍👍
🙌🙌🙌
He is of course a fantastic player but so much movement causes the Doppler effect in recordings, something which I have also noticed with a few other players who move so much. The result is unacceptable for pure listening. Fröst depends upon aspects of theatre to connect with his audiences and that's fine. He's not my go to performer if I just want to hear pure, unaffected performance. Martin is a one-off, a unique player that nobody should try to copy. Well that's my excuse anyway!
Thank you for your comments. I am an old school player taught to stand still. Martin is an amazing player but I much prefer to listen to him and not watch him he reminds me of the tennis players who grunt! It puts me off watching and no doubt the player on the other side of the net unless they are a grunted too. Yes he is a one off. Recently I watched a documentary about the late Jack Brymer of the London Symphony Orchestra. To me he made the most amazing clarinet sound ever! But years ago he was criticised for using vibrato. He got the idea I believe from listening to great singers and trying to be expressive like them and he succeeded. He played the instrument was great ease. Martin probably has fans that like to see him dancing as well as playing the clarinet! Once again thank you for this comment which I have almost being afraid to comment on - God bless you and yours -Bill UK 2:24
@@billducker7404 Yes, Brymer's sound was even more special heard live and many professional players in the UK still feel it's the best they have heard from a clarinet. There are still some interesting variations in clarinet sound across the world, even when players are now using similar setups. Dare I say that if you could bring Jack back and hear a few phrases played by him and then compare to many leading players today the astute non-clarinet playing listener would choose Jack for the rich sonority that was his trademark. Having said all that you will find many US clarinettists would not hear it this way. A straight, almost unyielding tone is still preferred by many - at least that's the way I hear it - it's not playing that is 'on the breath' - very much a hallmark of the English sound.