Omg ty for making this video. Double tonguing was never my forte. My teacher also told me to drive my d tonguing with my air but i never knew what she really meant. Bc of you, now i know its to keep the same resonance just like if u were slurring the same passage and it makes sense. I hope to use these tips to hopefully double tongue Monti’s Czardas during this cov19 stay-at-home-practice session.
Hi! Your welcome! I am so glad when people tell me that this works exactly for their particular issue. The Czardas is fast tonguing but you can do it. When you are practicing make sure even when practicing slowly that you practice with the double tongue. Good luck!
Hi Angela, thanks for this so revealing video about "Double Tonguing Technique", I've done a few exercises from Taffanel & Gaubert , very slow, and it's a challenge for me, (Christian Hymns in the Hymn Book of my Church are really not that complicated), nor they ask for double less triple tonguing, yet, still, I do a few studies and easy pieces where double tonguing is required/written, hence this lesson/tip of yours is just awesome. The new flute hasn't arrived yet, but even so, you know what I've found out?, that when I play a Hymn or a Gaelic slow Air or Lament, I use what I call "Throat Tonging" (don't know if the term exists), in very Legato and expressive passages I blow the air into the flute with an "Uhh", or "Huu", and it sounds ever so subtle, gentle and beautiful, the sound comes/appears from zero to whatever level you take it to with a "from nothing" ethereal quality to it, have you done it?, does it make sense? :-) Thanks again Angela, looking forward to your next video, meanwhile, take care and God bless
Hi Jorge, Is that flute ever going to get there!! I'd be watching the mail every day! Church playing rarely calls for double tonguing but I'm glad you are practicing it anyway as it adds a level of fun to practicing. I have a video that will come out soon on different methods of tonguing. I probably don't recommend throat tonguing but rather just a "pah" with no tongue. Hey, but if it works for you and gets the desired affect then go ahead and do it. I would make just that the throat then opens up again after throat tonguing as it could stay closed. Can't wait to hear about the new flute!
About the new Flute ... I know Angela, one word; ... _Patience_ ... Wow, never gave it a thought till you mentioned it today, when we do Throat Tonguing we close our throat !!! Ok, I tried a few notes and noticed that indeed we close our throat to produce the "Uhh", or "Huu", but also noticed that (at least for me) that closeness only lasts about 1/4 of a second, then is perfectly open, of course with whole, half and quarter notes the notes sound open and full at a slow tempo, AND (as much as they can with my current flute), specially in the first and second registers (still have to work A LOT on the third register) but with consecutive eight notes, I'm sure that the sound changes, cause I imagine is a constant and faster closing and opening of the throat right?, hence, there wouldn't seem to be enough time also room for and open and full sound when playing short notes from eight notes onward, ... or would there be? ... I have to experiment a bit further, I also have to try the "Puh" you mentioned, waiting on you future video "Different Methods of Tonging", it's gonna be awesome !!! Once again (and is never enough) thank you so very much for sharing you knowledge Angela, very much needed and appreciated it indeed, God bless
Quite a thorough analysis of your throat tonguing. I agree with you. Experiment with the "pah" and see if you get the desired affect. I think that it will be easier for you to execute. I'll be interested in what you think.
One issue #1: in other words, the flow of air from the diaphragm is even and the tongue only articulates the notes, not imitates the note. Also the tongue doesn’t project as far onto the teeth when double tonguing.
DoctorFlute-exactly. The tip of the tongue is somewhat ‘recessed’ in the mouth cavity. The contrast would be with staccato tonguing; when I first started double-tonguing I was much to forceful. The low register (below G) is still especially difficult to get to speak 100% clearly.
DoctorFlute Berniguier #18 and the Moyse #17-20 are killers. I find the bottom end gets worse towards the end, as the tongue almost ‘bloats’ trying to keep low notes clear. A new exercise is to go from a non-tongued note to the ‘k’, as there is only a break in the airstream, rather than a forceful expulsion of air with the ‘t’. Another exercise is to begin a ‘tah’ note with a ‘p’ attack.
I've never worked on the Berbiguier, I'll have look them up. Tonging differently is a great exercise. I have a video where I talk about 3 different attacks one being the "p". It's great for certain circumstances.
Omg ty for making this video. Double tonguing was never my forte. My teacher also told me to drive my d tonguing with my air but i never knew what she really meant. Bc of you, now i know its to keep the same resonance just like if u were slurring the same passage and it makes sense. I hope to use these tips to hopefully double tongue Monti’s Czardas during this cov19 stay-at-home-practice session.
Hi! Your welcome! I am so glad when people tell me that this works exactly for their particular issue. The Czardas is fast tonguing but you can do it. When you are practicing make sure even when practicing slowly that you practice with the double tongue. Good luck!
That was very useful! Thank you for these fantastic tips
Great! Thanks for watching them!
3:30 thank you very much❤❤❤
You are very welcome. Are you working on double tonguing?
Hi Angela, thanks for this so revealing video about "Double Tonguing Technique", I've done a few exercises from Taffanel & Gaubert , very slow, and it's a challenge for me, (Christian Hymns in the Hymn Book of my Church are really not that complicated), nor they ask for double less triple tonguing, yet, still, I do a few studies and easy pieces where double tonguing is required/written, hence this lesson/tip of yours is just awesome.
The new flute hasn't arrived yet, but even so, you know what I've found out?, that when I play a Hymn or a Gaelic slow Air or Lament, I use what I call "Throat Tonging" (don't know if the term exists), in very Legato and expressive passages I blow the air into the flute with an "Uhh", or "Huu", and it sounds ever so subtle, gentle and beautiful, the sound comes/appears from zero to whatever level you take it to with a "from nothing" ethereal quality to it, have you done it?, does it make sense? :-)
Thanks again Angela, looking forward to your next video, meanwhile, take care and God bless
Hi Jorge, Is that flute ever going to get there!! I'd be watching the mail every day! Church playing rarely calls for double tonguing but I'm glad you are practicing it anyway as it adds a level of fun to practicing. I have a video that will come out soon on different methods of tonguing. I probably don't recommend throat tonguing but rather just a "pah" with no tongue. Hey, but if it works for you and gets the desired affect then go ahead and do it. I would make just that the throat then opens up again after throat tonguing as it could stay closed. Can't wait to hear about the new flute!
About the new Flute ... I know Angela, one word; ... _Patience_ ...
Wow, never gave it a thought till you mentioned it today, when we do Throat Tonguing we close our throat !!!
Ok, I tried a few notes and noticed that indeed we close our throat to produce the "Uhh", or "Huu", but also noticed that (at least for me) that closeness only lasts about 1/4 of a second, then is perfectly open, of course with whole, half and quarter notes the notes sound open and full at a slow tempo, AND (as much as they can with my current flute), specially in the first and second registers (still have to work A LOT on the third register) but with consecutive eight notes, I'm sure that the sound changes, cause I imagine is a constant and faster closing and opening of the throat right?, hence, there wouldn't seem to be enough time also room for and open and full sound when playing short notes from eight notes onward, ... or would there be? ...
I have to experiment a bit further, I also have to try the "Puh" you mentioned, waiting on you future video "Different Methods of Tonging", it's gonna be awesome !!!
Once again (and is never enough) thank you so very much for sharing you knowledge Angela, very much needed and appreciated it indeed, God bless
Quite a thorough analysis of your throat tonguing. I agree with you. Experiment with the "pah" and see if you get the desired affect. I think that it will be easier for you to execute. I'll be interested in what you think.
Very helpful! I will practice these...I have such a slow tongue! Man, I have a lot of work in front of me...
I am so glad! We all have to work at our double tonguing!
One issue #1: in other words, the flow of air from the diaphragm is even and the tongue only articulates the notes, not imitates the note. Also the tongue doesn’t project as far onto the teeth when double tonguing.
i don't recommend double tonguing on the teeth. Is that what you are thinking?
DoctorFlute-exactly. The tip of the tongue is somewhat ‘recessed’ in the mouth cavity. The contrast would be with staccato tonguing; when I first started double-tonguing I was much to forceful. The low register (below G) is still especially difficult to get to speak 100% clearly.
Yes, that sounds good. From what I've seen the problem in the low register is almost always because too much air is used. Always use less air.
DoctorFlute Berniguier #18 and the Moyse #17-20 are killers. I find the bottom end gets worse towards the end, as the tongue almost ‘bloats’ trying to keep low notes clear. A new exercise is to go from a non-tongued note to the ‘k’, as there is only a break in the airstream, rather than a forceful expulsion of air with the ‘t’. Another exercise is to begin a ‘tah’ note with a ‘p’ attack.
I've never worked on the Berbiguier, I'll have look them up. Tonging differently is a great exercise. I have a video where I talk about 3 different attacks one being the "p". It's great for certain circumstances.