Malibu Posted May 3, 2002 Share Posted May 3, 2002 Just curious as to what the other corps out there are doing as far as tonguing techniques. Back when I marched, Jim Prime Jr. and Larry Kerchner was doing the hornline. They told them to use "Dah" when playing. Some other corps (not going to mention them) used "Tut." What other techniques are being used out there? CNAL Quote Link to comment Share on other sites More sharing options...
Flugelist Posted May 3, 2002 Share Posted May 3, 2002 Actually "Tah" is probably better than both of those. Better sound produced than using "Tut". "Tah" also over "Dah" since it forces the corners of your mouth down and points the chin down and flat which is the correct method in my opinion. Flugelist Quote Link to comment Share on other sites More sharing options...
PioneerLeadSop Posted May 3, 2002 Share Posted May 3, 2002 I've always been taught and teach using "Doh" I keeps the throat open and keeps kids having a harsh tounge. Quote Link to comment Share on other sites More sharing options...
mosthumbleone Posted May 3, 2002 Share Posted May 3, 2002 Actually, all of those sounds are appropriate in different circumstances. Quote Link to comment Share on other sites More sharing options...
mikemey Posted May 4, 2002 Share Posted May 4, 2002 I know we're taught "dah" at Sky. Seems to work for me. Quote Link to comment Share on other sites More sharing options...
Blaringbrass Posted May 4, 2002 Share Posted May 4, 2002 Actually, all of those sounds are appropriate in different circumstances Exactly! Quote Link to comment Share on other sites More sharing options...
cheezedogg 23 Posted May 5, 2002 Share Posted May 5, 2002 Yep, we use "Duh" to avvoid harsh sounding attacks. We use "tah" on the cirumstances that require a harsher attack. I prefer "duh" to all forms of tongueing. I believe it gives me a much warmer tone than anything with a T becuase itopens the throat. And i prefer a dark tone on my trumpet and soprano or trombone, or whatever i'm playing. people say that on a T attack can be clean, not true. Its harder but it can be done. i dont' see anything wrong with a T attack, its just not my favorite, its too bright sounding. But if thats what you want/like then go for it. Its al matter of opinion and what type on tone/tambre you want commin out of the horn. *say it with me "WWEEEEEEEEE"..* Quote Link to comment Share on other sites More sharing options...
Blaringbrass Posted May 10, 2002 Share Posted May 10, 2002 I know for double tounging we have always been told to use a "do goo" type approach and for tripple (if you could tripple) a "to-ku-to'' approach but it seems everyone has their own style for playing their instrument. Quote Link to comment Share on other sites More sharing options...
Lynkin Posted May 25, 2002 Share Posted May 25, 2002 GRRR...Goedoke's Concert Etude is the devil...dumb double-toungue stuff...never could get it. I'd like to think that I'm a good Trumpet player, but that's one of my faults...among others... :D Quote Link to comment Share on other sites More sharing options...
kalijah Posted May 25, 2002 Share Posted May 25, 2002 All brass players use articulations more similar to the D not the T. You use the D on high or low, loud or soft, mega accented or very light, depending on the air pressure buily up behind it. It seems to me that for most attacks the action is similar to both D and T. T has a hissing air sound associated with it as used in the english laguage. ( Pronunce "Tah" very slowly and you will see what I mean.) This turbulent blast or "hiss" of air would be of no use to a brass player. The Indian language D is more similar to the way we should do it in brass playing, which is like a D that has a very distictive front end like we would pronounce on a forceful "Tah". Flugelist wrote, Actually "Tah" is probably better than both of those. Better sound produced than using "Tut". "Tah" also over "Dah" since it forces the corners of your mouth down and points the chin down and flat which is the correct method in my opinion. Why would you want to do all this? You are creating lots of tension in the embouchure by doing all this corner pointing and chin flattening. Who ever taught you this is not teaching you to have an efficient and relaxed embouchure. Plus, the way you articulate with the tounge is totally independent of the embouchure. Darryl Jones Quote Link to comment Share on other sites More sharing options...
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