Double Tonguing Not Clear

[trickg]

Something to consider, when I really started to dig into my multiple tonguing, I didn't take off trying to do everything in all registers. I started off on 2nd line G at moderate volume and as relaxed as possible.

That was my center.

Every time I'd start a practice where I was going to dig into multiple tonguing, I'd start on G and work just the G until the articulations started to tighten up, and only then would I expand higher and lower, sometimes in scale patterns, or sometimes by individual notes.

It's true that as I'd ascend or descend the tongue position has to change, syllables need to shift, etc. Those are really small changes that are probably best approached by feel rather than in a more academic way of thinking about "Ta Ka" or "Tu Ku" or "Ti Ki" or whatever other syllables come to mind.

I say all of this, and frankly my multiple tonguing isn't great at this point - certainly not what it once was - but I don't work it like I used to, nor do I play as much as I used to, but I could probably get it back pretty quickly because I know what I did to develop it initially.
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[kehaulani]

[Vin DiBona]

When the great Mendez was learning how to tongue, by his own admission his double tonguing was terrible.
He learned it by walking around town going tu-ku, tu-ku most of the day.
The locals called him the Tu-ku tu-ku Kid.
I guess I was lucky. Double tonguing and triple tonguing have never been a real problem since high school. Good teachers and a bit of talent.
I practiced slowly and sped it up. And I practiced a lot.
Very little comes easy on the trumpet- or any other instrument for that matter - without some solid practice.

R. Tomasek

[Mnc]

I find using Ti-Ki gives me a faster, cleaner articulation for most all my double and triple tonguing possibly because, as was mentioned previously, everyone's structure is different. Experimentation should let you know which variation suits you best.
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[kehaulani]

[mograph]

I think that the phonetic articulations (e.g. "ti ki") are only a rough guide, a beginning. Like most things in trumpet pedagogy, we need to start with it, then pressure-test variations while actually playing the darn instrument.

For me, "denting the air" works as an image, but again, only as a start. Yes, the tongue has to move back and forth, but how hard, how soft, how high and how low depends on the context. Also, focusing too much on the tongue is a mistake to me, making the movements clumsy: I like to focus on how the lips are responding to the air-denting (or stopping). That keeps the tonguing light, for me anyway.

I saw a video where a trumpet player said that she makes tongue contact in different places, depending on the context: sometimes on the alveolar ridge, or behind the lower teeth, or the roof of the mouth.

There's no orthodoxy, except that which allows you to play well, eh?
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[herbievantetering]

You are right, compressions is not entirely correct, it should be positions or slots. I was refering to perhaps slotting "correctedness" between targets.

For example: Arturo Sandoval or Allen Vizutti.

However, you still go from one note to another where there is still a (slight) difference in compression. If you approach this similar to Arban, you might also develop more technique.

[herbievantetering]

[quote="mograph"]I tongue contact in different places, depending on the context: sometimes on the alveolar ridge, or behind the lower teeth, or the roof of the mouth.

There's no orthodoxy, except that which allows you to play well, eh?[/quote]

Roof of the mouth and behind lower teeth is wrong; it should be, as Arban or Miles states, a "spit" attack of the tongue "release" between the lips or "ti" or "tu" syllables or "release" TCBE (Tongue Controlled Balanced Embouchure) attack.

The 'tu ku tu ku' gives you a more mellow tone.

The 'ti ki ti ki" gives you a more articulated tone.