tag:blogger.com,1999:blog-5685800552031231178.post3758365715097262938..comments2024-03-18T00:06:48.117-05:00Comments on The Oboist: Double Tonguing on the OboeChristahttp://www.blogger.com/profile/17668520619554538563noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-5685800552031231178.post-14328537714389798662022-10-10T01:11:17.422-05:002022-10-10T01:11:17.422-05:00should we do the same methods in semiquaver scales...should we do the same methods in semiquaver scales in the Lebrun Concerto?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-2838313844631101532018-03-30T22:00:17.065-05:002018-03-30T22:00:17.065-05:00This site helped emensly. I've been playing th...This site helped emensly. I've been playing the oboe for almost a year now and I have always worked on always having nice tone, dynamics, and intonation, but I can never do any fast tonguing as hard as I try it just doesn't work. I had seen this site once before but I never actually read much but this time I actually read it and it healed a bunch so thank you. <br /><br />I still have one problem. I can't keep the oboe in tune when I try to double tounge. And as hard as I try my embouchure does not want to co-operate. If there is anything anyone can suggest I'm open for suggestions. Thank you!Kaela B. The young oboeistnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-6095095940452129792014-05-02T16:19:23.704-05:002014-05-02T16:19:23.704-05:00HI Donal-
Thanks for your message (and sorry for ...HI Donal-<br /><br />Thanks for your message (and sorry for not responding to your query when you first posted it on the blog---busy week to say the least!)<br /><br />Yes, the sound and pitch should remain constant throughout the entire process until the tongue creates another articulation (whether on the reed for another "TI" articulation or on the hard palate for a "KI" articulation). Air stream remains constant, only the tongue is utilized to create change. You can practice either legato or staccato, but as you move the tempo up, the articulations will inevitably become shorter out of necessity of speed.<br /><br />Hope that helps. Let me know if you have more questions or desire further clarification.<br /><br />Best wishes always and GOOD LUCK on your endeavors!<br />-CG<br />Christahttps://www.blogger.com/profile/17668520619554538563noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-27460589843834190422014-04-27T06:44:10.181-05:002014-04-27T06:44:10.181-05:00Hi Christa, I am a 'mature' player trying ...Hi Christa, I am a 'mature' player trying to learn double tonguing after 25 years of playing (having been confronted with Scala di Seta) and I find your advice really helpful. I am at the stage of metronome = 80 just with the reed and am wondering whether, after the Ti articulation, the sound should continue, at even pitch, until the Ki articulation. In other words, is it better to practice with a full legato tongue or more detached? Donal, Cheshire, UKAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-79494333632859035302014-02-05T20:47:30.518-06:002014-02-05T20:47:30.518-06:00Thank you! As a student wanting to learn how to do...Thank you! As a student wanting to learn how to double tongue, it's nice to have someone who knows exactly how to address the problems that it present to younger oboe players. Thank you again!fractal_loverhttps://www.blogger.com/profile/00138288944163597617noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-77915968177946405642013-07-31T12:09:21.084-05:002013-07-31T12:09:21.084-05:00Try scraping a LOT out of the tip of the reed (to ...Try scraping a LOT out of the tip of the reed (to only be used for practicing to learn how to double tongue). This will make the "ki" articulation easier to create. Then try using MUCH more air for the "KI" sound than you would for normal articulations. Next try REALLY, REALLY SLOW ti-KI articulations. Think about almost moving your tongue in slow motion. Study how your air and tongue must work together. Then try to speed things up (this step often takes a while--be patient!) :)<br /><br />Hope those suggestions help. Feel free to write with more questions or to have a short online lesson with me. <br />Best wishes,<br /><br />ChristaChristahttps://www.blogger.com/profile/17668520619554538563noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-68289140551885582112013-07-27T13:18:24.064-05:002013-07-27T13:18:24.064-05:00i can say the ti ki bit but when i put the reed in...i can say the ti ki bit but when i put the reed in i couldn't do it! i need help! Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-49553488548247904832013-06-17T11:24:00.986-05:002013-06-17T11:24:00.986-05:00Do you have any video of that? I'd love to fin...Do you have any video of that? I'd love to find out more details.<br /><br />my site: <a href="http://journals.fotki.com/edison9272/edison9272/entry/kwgwksbsqqbt/" rel="nofollow">metronome online tap</a>Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-40173320527187047562013-04-13T20:52:20.225-05:002013-04-13T20:52:20.225-05:00Thank you Christa! I am lucky enough to play oboe ...Thank you Christa! I am lucky enough to play oboe with KPK and she forwarded this to me. This was my response to her, "Excellent. I think putting an emphasis on the KI is "key" (no pun intended... really!). Double-tonguing is so much easier on the flute because you can be really light on the "K" part and it still breaks the sound. On the oboe, I can give myself a headache trying to get the back of my tongue to close off the throat, but keep the air pressure up enough to get the reed going again. I think maybe having the mid-tongue do the work, rather than the back of the tongue, might be easier (after strength and agility work-outs). Also, changing notes is really important... the tongue-finger coordination is really hard (harder than hand-eye coordination... and we have to do that too)." -LCGAnonymoushttps://www.blogger.com/profile/13083432129694914964noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-24342709903858948202013-04-13T15:29:51.968-05:002013-04-13T15:29:51.968-05:00Thanks for your comments. I agree with you Richar...Thanks for your comments. I agree with you Richard--the Mozart is so much more enjoyable the second (or seventieth) time around than the first! Taking time to notice and explore the myriad of articulation qualities available to express/ "say" exactly what you want in that concerto definitely makes one's life richer.<br /><br />As for practicing the "K" articulation, I'd caution against practicing it as an isolated articulation all on its own. Life's too short to master an exquisite "Ki" single tongue for your Hinke studies! Spend a bit of time isolating the K" articulation on the reed alone, then, as Bob suggests, work on getting clarity with the T-K-T-K sounds *together* as a group. You can even try the ricochet technique (as described on the Nov. 21st post) where either the T or K articulation is stronger and then the tongue bounces or ricochets with the other sound. Just a thought. Christahttps://www.blogger.com/profile/17668520619554538563noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-38071516962365257772013-04-12T21:45:37.537-05:002013-04-12T21:45:37.537-05:00I've been a pro for 50 years or so and just fo...I've been a pro for 50 years or so and just found this site. What Christa describes is the best explanation I've heard and the best approach I've met to the problem. I've got a fast tongue, so I've not had to learn double tonguing, but I've struggled with students needing to learn.<br /><br />My point, though, is I think you are going about almost everything you describe the right way, but isolating the 'Ka' seems counterproductive. You will always be going, 'Ta-Ta-Ta'but probably never, 'Ka-Ka-Ka', so the best approach (to me) seems to be to gain control of the 'Ta-KA Ta-Ka pair and optimize for speed...<br /><br />Bob Hubbardhttp://www.westwinddoublereed.comnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-14808633539948650952013-04-12T19:17:14.878-05:002013-04-12T19:17:14.878-05:00This is really interesting. I'm in the process...This is really interesting. I'm in the process of teacing myself to double tongue. I also identified the k bit as the key. When I'd tried in the past I gave up quickly because the results were so ungainly that I couldn't bear how poorly they compared with the rest of my playing. Now I'm a lot older (52), I have more patience and more persistence. Having taught myself to play with a controlled, diapragmatic vibrato as opposed to an uncontrolled throat vibrato I have moved on to double tonging. One thing I realised is that getting a clean k sound was about a clean quick contact between the tongue and the hard palate, exactly as you describe. So far I am really interested in getting this much better, so I'm working my way through the Hinke tonguing exercises doing K only. I reckon that once I have this completely at my command then the reflex t-K-t-K will come much more easily. <br />As a side note, but articulation related, I am also in process of re-studying the Mozart concerto. Having thought I knew it as a student, it is fascinating to re-visit after a gap of nearly thirty years. In the meantime, of course, my understanding of clssical style has been transformed. But what fascinates me about the piece, apart from the very peculiar phrase lengths, is how it demands clarity of articulation. A generalised staccato on top of a generalised legato, which is pretty much what I used to do, now seems nowhere near good enough. How to get really crisp quavers (1/8th notes) as well as fluently tongued scalic semis (1/16th notes) and also how to tongue really lightly and cleanly after each slur, so that the line is enhanced rather than destroyed, is a fascinating challenge. And how do you really re-create the 18th century rhetorical gestures, which Mozart has transformed through genius into a quicksilver kaleidoscope? <br />I don't pretend to have all the answers, but what I love about playing the oboe as a middle-aged music lover, as opposed to a young adult desperately trying to become a professional player, is that in the end it's the music that matters. And finding my way to the heart of it, to find MY way to express what I think the music is about, with articulate precision, is a simply marvellous way to spend one's time. <br />Oops, sorry. I meant to say "great post. thanks for sharing" and ended up writing an essay. <br />PS I'm only Anonymous because I don't have a URL yet. Working on it. My name is Richard and I'm a 52yo marketing professional who happens to love playing the oboe. Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-16097562159255062412013-04-12T12:01:41.321-05:002013-04-12T12:01:41.321-05:00Thanks for commenting! I hope the above suggestio...Thanks for commenting! I hope the above suggestions help you. Feel free to write back for more ideas if you get "stuck." Best wishes, CG.<br />Christahttps://www.blogger.com/profile/17668520619554538563noreply@blogger.comtag:blogger.com,1999:blog-5685800552031231178.post-31794558724097585332013-04-11T22:16:34.022-05:002013-04-11T22:16:34.022-05:00This made me so excited! I've tried double ton...This made me so excited! I've tried double tonguing a number of times and can always get it without the reed, but as soon as I try to stick a reed in I lose it. This looks like it will help!<br />Thank you!Kyleighhttp://www.drumofadifferentbeat.wordpress.comnoreply@blogger.com