Had a masterclass with this man recently. There is not a single negative thing to say against him! Great teacher, really. Talented and extremly skilled clarinet player, very patient and very kind and friendly. Learned a lot by taking his classes. All the best Mr. Sergio! You are awesome...
Sergio, your Selmer clarinets sound very good. Years ago I played the Selmer signature Bb and thought it was a far superior instrument to Buffet and other similar clarinets;; in my opinion, a much better phrasing instrument, with a better upper clarion register and far superior tuning. I went to visit Selmer in Paris several years ago and tried the Signature A clarinet. Unfortunately, I found serious problems with "grunts" or "under toning" in the A clarinet upper clarion register, much like many of the Buffet A clarinets. But I was grateful to Selmer for inviting me to visit. They're great people and a great French company. Great clarinet acoustical designs very carefully made, and very well-tuned instruments. I really appreciate your approach to double tonguing. I'm a double lip player, so I'm going to try your approach to see how well it works. Thanks for sharing. Your explanations are very good. You should do more. tom
This is a great way to approach double tonguing in a very similar way to single tonguing. I love how you focus on sound quality rather than using double tonguing as a flashy, frivolous technique. The Nielsen sounds great too!
I had similar approach many many times, I gave up and try again many times, eventually I did it, it's so much joy to accomplish that goal despite rarely using it 🤣
Olá, muito bom vídeo didático! Seguramente que irá ajudar nalgumas passagens mais rápidas. Gostaria de propor ao Sérgio que faça um vídeo onde fale sobre o que são e como se tira as chamadas "notas de garganta" no clarinete. Obrigado.
@@sergiopires1786 Sim. Sobretudo nas notas lá, Sib e quando se faz a mudança de registro utilizando a chave de registro. E seria possível dar alguns conselhos sobre como melhorar o som nas notas sobreagudas? Obrigado.
Good tutorial! But as you said, it is not used very often. In many years if playing, I just missed it once (a few notes in the 4th mouvement of Francaix). However, I didn't play Nielsen or 4th of Beethoven.
How do you tongue the reed? I wonder if those who prefer to use k as standard tend to have a different method of tonguing from those who use g. One player who has a video advocating k, uses the tip of the tongue to perhaps 1/3 of an inch lower than the tip of the reed. I tongue to the tip of the reed, from a point a little back from the tip of the tongue. I guess a lot can depend on the length of your tongue.
hello what a great tutorial ... I do my staccato only with my throat I don't use my tongue at all; the problem is that I can't do a fast staccato with just my throat, it's impossible in comparison if you use your tongue I just want to get to a fast staccato .........
Helo Sergio, good video! I would like to ask you if you play double tongue using first the throat and after the tongue when you play fast or it is only while the throat gets the same balance? Thank you!
Jairo Cifuentes hi!! thanks for the question! Depends a lot. It feels a bit less natural of course, so usually only on passages that are easy. In difficult passages not, just normal D G D G
Hello Sérgio, is the Licostini a1 with V12 3.5? My a1 mouthpieces have a very nice sound, but fast staccato is generally difficult to play on these mouthpieces. Is there a secret? :-)
Dimitri Schenker that’s exactly the setup :) sometimes also nr 3. (For example in my Mozart concerto recording). You mean single staccato is more difficult ?
@@sergiopires1786 Yes exactly. However, I play the German clarinet. Maybe everything is a little different on the German clarinet. These mouthpieces sound beautiful, but the single staccato is slowed down. Double tonguing is also difficult. PlayEasy B2 and Soloist M is somehow easier with the Staccato, but the sound is great with the Licostini a1!
Олег Шебета-Драган thanks for the question! Depends a lot. It feels a bit less natural of course, so usually only on passages that are easy. In difficult passages not, just normal D G D G
Hello Sergio and thank you so much for this video, it has really helped me with double tonguing!! Just one question, when starting to practice the "G" on the clarion notes is it normal to hear a little gliss to reach the note? It would be like Da-Gua Da-Gua and not Da-Ga Da-Ga. I'm doing something wrong or it will disappear with time?
Thank you for writing! I understand what’s happening! It’s quite common but no, it shouldn’t happen. Try really to make the “G” as soft as possible, almost unbearable the difference between a long note and a “G”. Usually that “glissando” can happen when you are doing the “G” to “deep” or opening to much the throat..
You said that our tongue should remain still when we do the "g" sound, but I feel the back of my tongue come up a little bit. Is that ok or does that mean I'm doing something wrong?
Great tutorial ..I love this and will have a go during lockdown.. I never had a teacher that used double tonguing and so was never pushed to learn it.. but hey, it's never too late! 😀 that Neilson extract was amazing!
I have a question.. Is It more difficult to double tongue keeping one note than double tonguing when changing notes? To me, It's easier when changing through notes.. On one note It gets confusing..
@@sergiopires1786 Yes, but even through notes It's difficult to get the DG and not the KT, or first the G-D as you say in video, maybe It'll help doing long note exercises.. and then the double tonguing with long notes.. and then little by little faster..
Georgia Antza I would do in one note only, to try to focus only on the air (that it never stops flowing), and like that you also work on the resistance of only one note and not 2 , where one of the notes might be easier or freer than the other, and like that you have less control over the GDGD sound. You should just be really patient, and work on it very slowly
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Had a masterclass with this man recently. There is not a single negative thing to say against him! Great teacher, really. Talented and extremly skilled clarinet player, very patient and very kind and friendly. Learned a lot by taking his classes. All the best Mr. Sergio! You are awesome...
Thank you for your kind words!!
Excellent explanation! You're not only a fantastic player, you're also a very good teacher.
Thank you for this !
Excellent! The best double tonguing explanation I’ve heard on line.
Merci beaucoup M.Pires pour tous vos conseils très précieux 👏👏👏
Thank you for this very useful technique. I had to largely master it myself and we didn't have TH-cam at the time. 👌😉
Obrigado Sérgio! Very good information! 🎼🎶
Sergio, your Selmer clarinets sound very good. Years ago I played the Selmer signature Bb and thought it was a far superior instrument to Buffet and other similar clarinets;; in my opinion, a much better phrasing instrument, with a better upper clarion register and far superior tuning.
I went to visit Selmer in Paris several years ago and tried the Signature A clarinet. Unfortunately, I found serious problems with "grunts" or "under toning" in the A clarinet upper clarion register, much like many of the Buffet A clarinets.
But I was grateful to Selmer for inviting me to visit. They're great people and a great French company. Great clarinet acoustical designs very carefully made, and very well-tuned instruments.
I really appreciate your approach to double tonguing.
I'm a double lip player, so I'm going to try your approach to see how well it works.
Thanks for sharing. Your explanations are very good. You should do more.
tom
Thank you so much, I finally understand how double tonguing works!!! This is the only video that I found that describes it really well!
Summer thank you so much! It’s nice to hear that the message got delivered well :))
Thanks! This will definitely help in my Nielsen concerto!
Mark Bernard great!!! Take time with it, it will be worth it:)
Have fun
You're amazing, Sergio. Thanks for the tips :)
This is a great way to approach double tonguing in a very similar way to single tonguing. I love how you focus on sound quality rather than using double tonguing as a flashy, frivolous technique. The Nielsen sounds great too!
Thank you for your comment! That’s exactly it! Is should be approached with the same idea as single tonguing.
Glad you liked it!
Double tonguing is one of the most time consuming technique master, it is nice to see your kind sharing of all your music and tips😘
kiu bb no doubt! Needs time and patience , specially in the beginning.. hope to help ! :)
I had similar approach many many times, I gave up and try again many times, eventually I did it, it's so much joy to accomplish that goal despite rarely using it 🤣
That’s true!! But well,, it’s nice to know that at anytime, when needed, we can do it :))
This is very good thanks 😎👍🏼🍷
Excellent tutorial!
Love your performance so much! Thanks for this video! I will try to learn that later🥳
thank you, I am glad! Go for it, let me know if it works!! Happy to help :)
Thanks and I will try.
Thank you very much.
Thank you Maestro!
You are welcome! My pleasure :)
Olá, muito bom vídeo didático!
Seguramente que irá ajudar nalgumas passagens mais rápidas.
Gostaria de propor ao Sérgio que faça um vídeo onde fale sobre o que são e como se tira as chamadas "notas de garganta" no clarinete.
Obrigado.
Obrigado pelo comentário!
Refere-se, como melhorar as notas de garganta? Som, emissão, Articulação etc?
@@sergiopires1786 Sim. Sobretudo nas notas lá, Sib e quando se faz a mudança de registro utilizando a chave de registro.
E seria possível dar alguns conselhos sobre como melhorar o som nas notas sobreagudas?
Obrigado.
Good stuff!
Good tutorial! But as you said, it is not used very often. In many years if playing, I just missed it once (a few notes in the 4th mouvement of Francaix). However, I didn't play Nielsen or 4th of Beethoven.
You can use it in most concertos like Weber or crusell in certain places or rossini variations etc
How do you tongue the reed? I wonder if those who prefer to use k as standard tend to have a different method of tonguing from those who use g. One player who has a video advocating k, uses the tip of the tongue to perhaps 1/3 of an inch lower than the tip of the reed. I tongue to the tip of the reed, from a point a little back from the tip of the tongue. I guess a lot can depend on the length of your tongue.
Buen vídeo Sergio. Sube más vídeos de técnica cuando puedas. Saludos artista.
The world's best clarinet player!!! 😉
Ahaahahah abraço Hélder !! :p
Grande!! Bravissimo
grazie!!
hello what a great tutorial ... I do my staccato only with my throat I don't use my tongue at all; the problem is that I can't do a fast staccato with just my throat, it's impossible in comparison if you use your tongue I just want to get to a fast staccato .........
Why you do it only with the throat? Only learned like that?
Exceptional tutorial!!!
Shawn Riggins thank you!!
fantastico....muy buena explicacion gracias...en ingles me cuesta cojer la explicacion pero fantastico.
Bravíssimo!!!!!!😍
HUDSON Campos obrigado!!
Merci 😇😇😇😇
Helo Sergio, good video! I would like to ask you if you play double tongue using first the throat and after the tongue when you play fast or it is only while the throat gets the same balance?
Thank you!
Jairo Cifuentes hi!! thanks for the question! Depends a lot. It feels a bit less natural of course, so usually only on passages that are easy. In difficult passages not, just normal D G D G
Sérgio Pires thank you.
Sir can you play a Gulmark Quick march in bflat clarinet solo part
Hello Sérgio, is the Licostini a1 with V12 3.5? My a1 mouthpieces have a very nice sound, but fast staccato is generally difficult to play on these mouthpieces. Is there a secret? :-)
Dimitri Schenker that’s exactly the setup :) sometimes also nr 3. (For example in my Mozart concerto recording). You mean single staccato is more difficult ?
@@sergiopires1786 Yes exactly. However, I play the German clarinet. Maybe everything is a little different on the German clarinet. These mouthpieces sound beautiful, but the single staccato is slowed down. Double tonguing is also difficult. PlayEasy B2 and Soloist M is somehow easier with the Staccato, but the sound is great with the Licostini a1!
I see.. well, with A1 you need much more speed in the air, much more pressure to do staccato... can it be that that’s the problem?
Thanks for your video! You recommend to use first G then D when you practice double tonguing. But are you playing so also on concert?
Олег Шебета-Драган thanks for the question! Depends a lot. It feels a bit less natural of course, so usually only on passages that are easy. In difficult passages not, just normal D G D G
Олег Шебета-Драган but mostly is more just for practicing ! To try to make the G stronger and the D weaker
Hello Sergio and thank you so much for this video, it has really helped me with double tonguing!! Just one question, when starting to practice the "G" on the clarion notes is it normal to hear a little gliss to reach the note? It would be like Da-Gua Da-Gua and not Da-Ga Da-Ga. I'm doing something wrong or it will disappear with time?
Thank you for writing!
I understand what’s happening! It’s quite common but no, it shouldn’t happen. Try really to make the “G” as soft as possible, almost unbearable the difference between a long note and a “G”.
Usually that “glissando” can happen when you are doing the “G” to “deep” or opening to much the throat..
@@sergiopires1786 thank you! I will try now to not open too much my throat to see what happen
Master!!!!!!
You said that our tongue should remain still when we do the "g" sound, but I feel the back of my tongue come up a little bit. Is that ok or does that mean I'm doing something wrong?
Great tutorial ..I love this and will have a go during lockdown.. I never had a teacher that used double tonguing and so was never pushed to learn it.. but hey, it's never too late! 😀 that Neilson extract was amazing!
Go for it !! :)
Why it’s not correct to have air in the cheeks, says who?…..Go on Great Job!❤
Plays great, not always clear what he means ??
I have a question.. Is It more difficult to double tongue keeping one note than double tonguing when changing notes? To me, It's easier when changing through notes.. On one note It gets confusing..
Georgia Antza I see. Maybe through changing notes, you can organize better the DGDG , right? That might be the reason
@@sergiopires1786 Yes, but even through notes It's difficult to get the DG and not the KT, or first the G-D as you say in video, maybe It'll help doing long note exercises.. and then the double tonguing with long notes.. and then little by little faster..
Georgia Antza I would do in one note only, to try to focus only on the air (that it never stops flowing), and like that you also work on the resistance of only one note and not 2 , where one of the notes might be easier or freer than the other, and like that you have less control over the GDGD sound. You should just be really patient, and work on it very slowly
where's the piece / video from in the inro video?
In my channel! Check the Nielsen Concerto recording :)
Holly shit..
It was very helpful. Thank you so much, maestro.
daniela berlochi thank you! Glad to hear :)