Double tonguing was developed to increase the speed at which a player could re-articulate a series of notes. From the time of Arban to the performances of Herbert L. Clark the technique was practiced and improved to the point where these musicians were able to accomplish fantastic performances of extremely difficult solos. The level at which they entertained their audiences was amazing. Many of these techniques have been lost or at least ignored and few modern players spend the required time developing these techniques. There are exceptions to this statement as illustrated by this video of Rafael Mendez performing Arban’s exercises #19-20 on pg28.
This is a very good example of how smoothly and evenly double tonguing can be implemented into your playing. The sixteenth notes are too fast to be played with the conventional single tonguing technique and the practice of double tonguing is required. When you begin to develop this technique, keep in mind the evenness with which Mendez has illustrated his double tonguing ability. The fantastic playing of this gifted player is the reason I have included his picture on all of these posts related to multiple tonguing.
How do you double tongue?
Double tonguing makes use of the tongue area in the front of your mouth as well as the tongue area in the back of your throat. This back and forth action is what gives the player more speed when tonguing rapid notes. When I say the front and the back, I am speaking of the areas and not a back and forth direction. The front and back of the tonguing move up and down, not forward and backward. You can think of the action of your tongue as you visualize a teeter totter going up and down. The action of the tongue moves the same way.
In the previous post we discussed which syllables are most effective when starting notes and for simplicity sake, I will use the syllable Tah as our preferred articulation. The syllable Tah will begin our first note on G, second line in the staff for trumpet players. Start and repeat the G using your Tah articulation. As you play these notes, try to visualize what is happening inside your mouth. The tip of your tongue first rests on the ridge just behind your upper teeth. As you increase air pressure and then drop the tip downward, the force of the expelled air passes between your lips and starts them buzzing. That is how we single tongue. When we start our next note in double tonguing, we release the air with the back of the tongue as we pronounce the syllable Kah. Notice that the tip of your tongue is low in the front of your mouth as the Kah is sounded. Tah starts with the tip of your tongue and Kah begins with the release of air in the back of your throat. Repeat these two syllables a few times to get the feel of where the air is released.
I have included in this post a series of exercises which will get you started in double tonguing. If you have already been using double tonguing, feel free to skip to some of the later levels. You will also find included recordings of the exercises so that you will have something to guide you.
How do I get started playing the printed examples?
First download the four levels of exercises and have them in front of you when you practice. Double Tonguing Exercises
Next, click on the link to each exercise and play along with the recording.
Double Tonguing Exercise Level 1
Double Tonguing Exercise Level 2
Double Tonguing Exercise Level 3
Double Tonguing Exercise Level 3 faster
Double Tonguing Exercise Level 3 fastest
Double Tonguing Exercise Level 4
Double Tonguing Exercise Level 4 faster
Double Tonguing Exercise Level 4 fastest
Levels 3 and 4 are done in the same manner as level 1 and 2 with one exception. I have included three recordings of level 3 and 4 which increase in tempo. Find the speed which works best for you and continue at that level until you have mastered it. Once you feel comfortable at that level, advance to the next tempo. Once you have accomplished all four levels at the fastest tempo, you should be able to perform well in the middle range and the next step would be to extend your ability upward. High register double tonguing becomes very challenging for there will be a tendency to arch the tongue too much which will gradually cut off the air stream. You will need to consciously try to keep the tongue as low in the mouth as possible in order to correct this tendency.
Best of luck to you.
Hi
Can you please clear up some confusion on my part
The link you provide to Mendez playing Arban is titled
ARBANS SINGLE TONGUE EXERCISE #19-20
But your commentary states that
“This is a very good example of how smoothly and evenly double tonguing can be implemented into your playing.”
Is Mendez single or double tonguing the 16th note figures?
This is important to me because if he is, them I can, and have been, double tonguing all along.
Thank You
He is double tonguing on all of the sixteenth notes.
sorry it took so long to say thank you
Sorry, Professor, but I believe I have evidence that Mr. Mendez did, in fact, SINGLE TONGUE the Arban “Single Tongue” exercises that he recorded for Decca in the earlier 1950’s.
1959, Mendez was guest soloist with the Spencer, Iowa, 125 piece concert band directed by Robert Dean, later to go to Mason City. I graduated from HS in ’59 but not from Spencer, living however, only 6 miles from Spencer. That night, Mendez played Hejre Kati, my trumpet solo I took a 1st in State in 1958. Oh, how I loved that piece – – it made my heart beat like my girlfriend made my heart flutter. After Mendez’ clinic the afternoon before the concert, I asked Mendez a question or two, one of which was “did you actually single ton those “single tongue” Arban exercises. Mendez said he SINGLE TONGUED all of them. Research done by Jane Hickman and Del Lyren states that Mendez had a slow single tongue as a youngster and even Mendez in his home videos says his father taught him to double tongue to overcome. Mendez said town folk called him little “tu ku” because he walked around practicing the double tongue. Through the years, however, Mendez stated that with constant work and dedication, he developed a fast SINGLE tongue.
Every body has an individual difference – – I developed a fast and accurate double tongue because of a slow single tongue plus my triple tongue was fast enough ONLY IF I PRACTICED IT DAILY. My father, born a month after Mendez in 1906, had an extremely fast single tongue and said he seldom needed to double tongue even on fanfare stuff. Additionally, he had the fastest triple tongue and could flawlessly accelerate to speeds I could never approach.
Obviously, you have some reason or “evidence” that Mendez double tongued the Arban. But I know what Mr. Mendez told me that day in the Spencer High School auditorium when I asked this very question.
If you listen to Mendez’ recording of Jota #2, he has two ad lib, but scored, sections where he accelerates a tonguing on G (above the staff) and ultimately switches from single to double tonguing (we can hear where he makes the switch) to achieve the ultra rapid tonguing, At the point of switching to the double tongue, his single tongue RAPID!!!!
I’ve always been interested in this subject because – – back when I played, I spent time with MR. ARBAN including playing all of the “single tongue” exercises. In my case, I HAD to double tongue to play at the SAME speed Mendez took them which is the speed indicated by Arban, as I recall.
In closing, unless Mendez fibbed, he told me that day in April of ’59 that he “single tongued.” I still have the program.
Clark Toland
catoland@charter.net
I would be the last to argue anything about the great Mendez for he was our inspirations at that time. In fact the two solos you mentioned were two that I also played and performed. That style of playing unfortunately has been overlook for too long. I have been recording more cornet solos for that reason. It would be wonderful if we could get back to that style of playing. In fact, I am currently trying to work up a violin solo which would be a “killer” on a cornet. It’s call Andantino- Capriccioso and was written for violin. Hopefully I can work it up for it is the hardest solo I have ever tried to do.
Thank you for your comments and information about Mendez and in closing,
Bob Dean and I worked together for many years at UNI and both he and his wife were very good friends of ours. I never met a better and more dedicated music educator than Bob.
Stay well and live long.
BC