Brass Clinic Multiple Tonguing rticulation gives definition to the notes of a musical phrase As in painting, the edges of the 1 defined or they may have a softer edge. can be sharp and wel: Good musicians consciously adjust the articulation style for a particular pas sage: any variation in the articulation will be intentional rather than the result of inconsistent technique Single Tonguing AAs you are probably already aware single tonguing is used when the notes ate at aslow enough tempo thar the tip of the tongue has time to return to the hard palate (roof of the mouth, toward the front) for each new note, resulting in tou 04 tow As notes become faster than players can single tongue, students will alternate tou with ow. This alternation is called multiple ‘Many method books spell the tongu: ing syllables tw and keu. The most pop- ular ped bles was a book written by Jean: Baptiste Acban, a Frenchman. For this reason, the pronunciation of these sl wgogical source of these sylla By Adrian D. Griffin lables should be understood in that language, and they should rhyme with boo. This atticle will spell them cou ow to emphasize the correct he tov and kow syllables allow a juicker double and triple tongue than American approximation tuk and kuch The pure tow is pronounced more towards the front of the mo fuk is pronounced in the back of the mouth. The efficiency of the tou will et, quicker articulation for your students Try having your players pronounce tow tow tow tow tow out loud, keeping a seamless, steady sound. Have them keep the air flow constant — the tongue simply intersects the airflow co create the articulation at the beginning of the note. The tongue never stops the air, it merely interrupts a continuous airflow Now have them try the same thing with kou, They should use the very tip of their tongue to pr the front middle portion to pronounce kkou. Once they have practiced the syllables out loud to a high level of Multiple Tonguing ‘Once students have established a fast and consistent single-tonguing on both syllables, they are ready to beyin multiple tonguing. You will actually have them start with triple tonguing, since this does not require them to sovitch between tou and kow on every Once they get a firm grasp of how to triple tongue tow-towkou, they wil better equipped to handle the rapid on. of the tow-kow in double Triple tonguing combines syllables of double tonguing in a three-note pattern. If triple tonguing has already been established, you sim ple have to drop a syllable for double “Like single to multiple ng must be practiced slowly and carefully to maintain good control at every speed. In multiple tonguing, kou is the weakest syllable, simply because students have used tou since theirComplete Conservatory Methox! by Jean-Baptiste Athan (Colin 1981), Exercises for Double and Triple Tonguing by Edwin Franko Goldman (Carl Fischer, 1912). Double and Triple Tonguing by Sigmund Hering (Cari Fischer, 2004), Practical Studies for Trumpet by Eciwin Franko Goldman (Carl Fischer, 1921), Trumpet “Method (Book 1) by Alllen Viszuti (Alfted, 1991), Twenty-Seven Groups of Exercises by Earl Irons (Southern, 197) ‘Thirty Six Etudes Transcendates by | Theo Charlier (Leduc, 1946) = and #18, Now that players have learned mul tiple tonguing, practice articulating slow passages using only the lou. The goal is to make the kaw sound identical to tow Once they feel comfortable with this articulation, have them add the tow and kou together slowly, Fave them gradually increase che speed, varying the dynamic as well so their ronguing i flexible. Multiple tonguing is a rapid reflec tion of their single tongue. If your stu dents do not have a rapid single tongue, their multiple tongue will not be fast enouigh either. Ahan D. Griffins princi anpe with the Orquesta Sinfonica de Monterrey. He has held positions as prin cipal eempet with the Filarmonica de Jalisco, co-prineipal rumpet with the ‘Onquesta Sinfonica de Monterey, Ballet de Monterrey, and Opera Metropolitana de Monterrey, and fowrtWutiity mampet with the Vinginia Symphony Orchestra Grifin’s book, Buzz to Brilliance, i published by Oxford University Pres. He is a performing artist and clinician for Conn/Selmer and Bach ‘Tromp well as being the frst person im North America tobe signed by Denis Wick as a performing artist and clinician. 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