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MENDEZ AND TRIPLE TONGUING?



 
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trpt.hick
Rafael Méndez Forum Moderator


Joined: 16 Jul 2004
Posts: 2630

PostPosted: Sat Sep 11, 2004 7:24 am    Post subject: MENDEZ AND TRIPLE TONGUING? Reply with quote

Many people find it strange that Mendez seldom triple tongued during his solos. When he did, it was spectacular.

Who can answer these two questions correctly?

1. Why did Mendez choose to not use triple tonguing very much in his solos?

2. Which of his solos has the most triple tonguing in it?


Dave Hickman

P.S. NO! He did not use the sylables "ta-kee-la"!
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trpt.hick
Rafael Méndez Forum Moderator


Joined: 16 Jul 2004
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PostPosted: Sun Sep 12, 2004 1:24 pm    Post subject: Reply with quote

Com'on, man. Can's someone take a guess?



D. H.
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monetteplayerdbc
Regular Member


Joined: 03 Sep 2004
Posts: 56

PostPosted: Sun Sep 12, 2004 1:34 pm    Post subject: Reply with quote

Mendez chose to double tongue most of the passages that required speed and staccato work, as he found it to be easier and even allows for "faster" execution in many cases. Also, the rhythms involved usually where grouped in sets of 4's ( i.e., sets of sixteenth notes at various tempos--usually fast!) which he found to feel (while playing) more natural utilizing a varied form of double, rather than triple tonguing.
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Vin DiBona
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Joined: 24 Dec 2003
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PostPosted: Sun Sep 12, 2004 5:18 pm    Post subject: Reply with quote

The Jota #1 has a stunning triple-tongue passage in it, but I don't think that is the actual answer.
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trpt.hick
Rafael Méndez Forum Moderator


Joined: 16 Jul 2004
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PostPosted: Sun Sep 12, 2004 9:58 pm    Post subject: Reply with quote

You are both correct for the most part.

The Jota #3 has perhaps the most triple tonguing in it. That piece is sometimes titled "Fandango," too. The "Mexican Hat Dance" also has a full page of triple tonguing.

One of the main reasons Mendez chose not to frequently compose triple tonguing passages is because he felt (according to what Bob Mendez, who I spoke with today, BTW, told me) that this style was too much in the older "cornet solos" style of Clarke, Kryl, Staigers, Levy, Hartmann, Bellstedt, et. al. He wanted to be more current at the time and wished for his trumpet solos to have a different type of character. They certainly do.

D. H.
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