Wider is better...

Greetings,

More today on articulation...

Quantz suggests restricted vowel sound use in flute playing. For tonguing, he suggests using an “LL” syllable alternating with “d.” Because of the width of the tongue in the mouth, “LL” feels like air in cheeks, but without any embouchure instability. A wider contact area results from using a wider tongue, also improving control of articulations.

The “LL” syllable passes air around the tongue rather than straight over it. In Linguistics, this sound is called an “velarized alveolar lateral approximant” (pictured).

This “Dark “L” sound --as said in the words "tell", "dull", "bold", "bell"--is great for flute playing. The tongue is shaped like the back side of a spoon, with the back of the tongue raised and curving downward in the front. This position helps keep air moving through (around) articulations and also makes it possible to maintain a stable tongue position.

According to Keith Underwood, “When using the double ‘L’, the tongue is less rigid and hinged in middle. It feels like the next tonguing is already in place.”

Also according to Jerome Callet (of Tongue Controlled Embouchure fame), it is best to not blow through a vowel sound because it creates too much tongue movement. Buzzing off the top of the tongue prevents this problem. Try buzzing wider in your mouth. Use a wider portion of the inside of your upper lip against a wider tongue. Some air will come sideways through the teeth, pressurizing the air. This results in more ringing in the sound without distorting the embouchure.

To sum up: the wider your tongue, the less it moves, the faster you can articulate, the less your airstream (tone) is affected by your articulations, and the more stable your embouchure will be. It’s a win, win, win, WIN!

Happy Fluting,
Catherine

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

How to Have "Just Ducky" Tonguing

Hello,

You probably guessed it...this is Keith's latest on tongue-controlled embouchure.

It always fascinates me that when I have a long Keith hiatus (this last one was October 2007-June 2008) my own process parallels that of my mentor.

I have noticed in recent months that my tongue contact area includes a place of contact between my upper molars and the surface area of my tongue.

From this place my tongue rests in a slightly downward trajectory onto my lower teeth, with the surface area of my tongue still touching both lips across the front of my mouth when I play.

I had been noticing that my double tonguing was even more stable with the tongue somewhat higher in the back and that the 2nd syllable of the double-tonguing felt close to the duh, but in front!

I thought, "The "back" tonguing is in the front. hmmmm. A bit confusing."

Then, in the recent Cape Cod classes,Keith described his new tonguing syllable as "duh." Then he went on to say that his double tongue syllable is actually even farther forward than the duh...like a "Key"

So, we called it "ducky tonguing!"

It felt great to hear Keith express so precisely and enthusiastically the same things I had been experiencing in recent months. Whew! What a relief.

"Key" is a brighter sounding syllable than "kuh" or "guh" and helps keep my tone more even and the sound clearer on the second syllable.

It also helps keep my embouchure stable and not too open in the front. This really saves air!

This tonguing approach also helps me get my rhythmic "ducks in a row." creating very crisp and rhythmic articulations.

All the best,
Catherine

Chopstick and Tonguing

Greetings,

This video is a response to a subscriber request for more specific information about how to tongue with a chopstick in the mouth.

Please let me know if there is a specific topic you would like me to post a blog article or video about.

All the best,
Catherine

Celebrate Your Articulation!

Greetings,

This video demonstrates one of my all-time favorite ways to experience the feeling of good breath support, without overblowing, and is especially useful for learning to articulate with an evenly supported tone.

For more detailed descriptions of ways to use a party favor to increase awareness while practicing, have a look at these videos in the LeGrand Virtual Studio:

Episode 1: Two Common Misconceptions about Flute-Playing
Party Favors 201: Embouchure

Most importantly--HAVE FUN with your practicing! Let it be a joyful journey.

Best,
Catherine