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