Double Tonguing: It All "Hinges" on This

Greetings,

In his 2.17.2012 masterclass Keith Underwood taught us about something he referred to as "the best thing since buzzing." Is this some new fangled, goofy exercise? No indeed. It is very old and straight from the source--well, from this classic source for 18th century performance practice: On Playing the Flute by Johann Joachim Quantz.

Today this standard reference book is easily available on Amazon for Kindle devices for $13.29. What a deal! It is truly amazing to be able to carry this big, fat book in my iphone!

Here are the pertinent passages from Quantz:

CHAPTER VI
Section 1
6 (excerpt)
In the di (the tongue) must remain free in the middle of the mouth, so that the wind is not kept from sustaining the tone.

Section III
Of the Use of the Tongue with the Word did’ll, or the so-called Double Tongue

1
The double tongue is used only for the very quickest passage-work. Although easy to explain orally, and simple for the ear to grasp, it is difficult to teach in writing. The word did’ll which is articulated in it should consist of two syllables. In the second, however, no vowel is present; hence it must be pronounced did’ll rather than didel or dili, suppressing the vowel which should appear in the second syllable. But the d’ll must not be articulated with the tip of the tongue like the di.

2
I have indicated in the first section of this chapter how the di must be formed. [Section 1: 6 (excerpt) above] I refer you to that section here. To articulate did’ll, first say di, and while the tip of the tongue springs forward to the palate, quickly draw the middle portion of the tongue downward a little on both sides, away from the palate, so that the wind is expelled on both sides obliquely between the teeth. This withdrawal of the tongue will then produce the stroke of the second syllable did’ll; but it can never be articulated without the preceding di. If you pronounce did’ll quickly several times in a row, you will hear how it should sound better than I can express in writing.

For many years I have encouraged a wide, forward tongue when playing, and, also, as a prerequisite for double tonguing (as in syllables: "yell yell yell yell"). The above passages indicate the importance of blowing around the tongue, through the teeth (like I have described as "tz" and "surf sounds").

In this passage:

while the tip of the tongue springs forward to the palate, quickly draw the middle portion of the tongue downward a little on both sides, away from the palate, so that the wind is expelled on both sides obliquely between the teeth.

Quantz is encouraging a "hinging' of the tongue in the middle, arcing it forward for the second syllable of the double tongue. This keeps the tongue from stiffening up in long double tongued passages, while keeping the tone focused throughout without disturbing the embouchure.

Now, go practice!
Catherine