Double tonguing is a difficult and advanced technique, but is very important. It allows you to tongue very fast passages much more easily. Here is some of the first steps to take when learning to double tongue.
1. Find the syllables that work for you.
I use tu-ku, but there are other options such as ta-ka, da-ga, du-gu. First try without the trumpet.
2. Try it slowly on the trumpet.
Using a middle range note, (I find that F works well) try it slowly. You should be able to hear a definite difference between the two syllables. If you are struggling with the ku syllable try just ku tonguing.
3. If possible get a teacher to listen to you.
It is important to know whether you have the correct technique so, if possible, find a teacher or an advanced player to listen to you double tongue. If this is not available to you search for example videos on Youtube.
4. Gradually speed it up.
Using a metronome, start tonguing at a very slow speed. Gradually speed the metronome up until you reach a speed at which you can no longer double tongue. Make a note of this speed. Work on this every time you practice and gradually you should be able to increase the speed at which you can double tongue.
5. Try lots of different exercises.
If you don't have an Arban or similar, here are some exercises that I have found online: http://www.ultrapureoils.com/media/23605/tonguing_exercises.pdf. This is also a very good video: http://www.youtube.com/watch?v=4vIb0DjDdN8
Showing posts with label arban. Show all posts
Showing posts with label arban. Show all posts
Thursday, 17 October 2013
Friday, 25 January 2013
Using the Arban
The J.B Arban Cornet Method, is many trumpet players 'bible'. It really helps to improve tounging, tone, range, ornamentation and overall technique. Each section begins with very basic exercises and ends with much harder, more demanding exercises. This book is therefore perfect for a trumpeter at any stage.
The Arban is particullarily useful for developing double and tripple tounging. This is a very important technique for all trumpeters as sometimes passages are too fast to single tongue perfectly. The sections start off simply, with repeated notes and as the book progresses the exercises become much more difficult with more intervals and movement. Double and triple tounging is something that should be practised every day in order to be maintained and developed.
The exercises are useful for warming up as well as the slur exercises beginning on page 39. Slurring is an important exercise for brass players and although is not easy at first, gets much easier as time goes on (as long as you practise regularily!) and the muscles in your lips become stronger.
I also like the exercises in intervals (from page 125 onwards). These will help to improve your range and make high notes much easier to play from nothing. Exercise 38 on page 36 is also very useful for developing intervals.
Each section has a written introduction explaining how each technique should be acheived and faults that should be avoided.
Part 3 of the book (191 onwards) contains 18 technically demanding pieces and also 14 very demanding studies which make use of most of the techniques covered in the rest of the book.
This book is a must for all trumpet players and should be a feature of every practise session. It will really help to develop technique which can be applied to all types of music.
The Arban is particullarily useful for developing double and tripple tounging. This is a very important technique for all trumpeters as sometimes passages are too fast to single tongue perfectly. The sections start off simply, with repeated notes and as the book progresses the exercises become much more difficult with more intervals and movement. Double and triple tounging is something that should be practised every day in order to be maintained and developed.
The exercises are useful for warming up as well as the slur exercises beginning on page 39. Slurring is an important exercise for brass players and although is not easy at first, gets much easier as time goes on (as long as you practise regularily!) and the muscles in your lips become stronger.
I also like the exercises in intervals (from page 125 onwards). These will help to improve your range and make high notes much easier to play from nothing. Exercise 38 on page 36 is also very useful for developing intervals.
Each section has a written introduction explaining how each technique should be acheived and faults that should be avoided.
Part 3 of the book (191 onwards) contains 18 technically demanding pieces and also 14 very demanding studies which make use of most of the techniques covered in the rest of the book.
This book is a must for all trumpet players and should be a feature of every practise session. It will really help to develop technique which can be applied to all types of music.
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