by Stefanie Ochoa
The tongue is used to shape syllables while playing music pieces. Musicians use the tonguing techniques to articulate in place of the valves that can also be used. There are several different types of tonguing techniques from single tonguing to triple tonguing. The trombone musician appears to use this technique more frequently than do other musicians. In this article, we will look at the basics of tonguing:
The way you tongue is by saying "t" ("tuh") to start a note with a high quality. It is perhaps best to touch the tongue on the firm palate just at the back of your top teeth, instead of directly on the mouthpiece of the whistle. Using the hard palate will help prevent saliva from entering the windway. This will also help you tongue, to a large extent, more quickly and cleanly. (The importance of this second tip will become apparent when you attempt advanced techniques such as triple tonguing). Here are three suggestions to start you off:
Always tongue as soon as you have taken a breath. This comprises the very first note of the tune.
In eloquence, the great triumphs of the art are when the orator is lifted above himself; when consciously he makes himself the mere tongue of the occasion and the hour, and says what cannot but be said. Hence the term abandonment, to describe the self-surrender of the orator.
—Ralph Waldo Emerson (1803–1882)
In the initial stages, you should not articulate a note in the above circumstances by simply starting to blow without tonguing. The likelihood is you will sound like a child who has just picked up a recorder for the first time – not appealing. Later on in your musical career though, it may be useful.
If you have developed the pattern of articulating notes by preventing your breath in your throat (making a glottal stop) or by creating a little cough, you may want to reconsider that action and abandon it in support of tonguing. Stopping your breath narrows your throat, and is liable to lead to your making little grunting sounds as you play.
You may want to try other syllables when you practice your tonguing technique such as "d" ("duh"), which may give you a softer sound. You might find this useful for slow airs, for example.
Tonguing is really a question of personal choice. It is an exchange between flow and attack. If you do not use as much tonguing, you will create more flow, additional tonguing - more rhythmic possibilities. Eventually the decision as to how much you want to tongue will depend upon the emotion you want to express in your music. In the initial stages, listen thoroughly to the good players and notice how their use of tonguing differs.
I am a villain. Yet I lie, I am not.
Fool, of thyself speak well. Fool, do not flatter.
My conscience hath a thousand several tongues,
And every tongue brings in a several tale,
And every tale condemns me for a villain.
Perjury, perjury, in the highest degree,
Murder, stern murder, in the direst degree,
All several sins, all used in each degree,
Throng to the bar, crying all, “Guilty! Guilty!”
I shall despair. There is no creature loves me,
And if I die no soul will pity me.
And wherefore should they, since that I myself
Find in myself no pity to myself?
—William Shakespeare (1564–1616)
Tonguing is more vital to the trombonist than it is to any other instrumentalist. Plainly stated, if your tonguing techniques are not extremely developed and well incorporated into your whole approach to the horn, your playing is going to be severely restricted. Some players have not developed their tonguing at all and repeatedly cannot play more than three rapid notes in a row without appearing sloppy and confused. If you cannot tongue quite rapidly, choose several tonguing styles, rehearse them at tempos at which you can execute them, and then slowly increase the tempo until you can play them faster. This sort of tongue training is just a matter of time and effort.
Some musicians have overdeveloped tongues. This may seem in opposition, but consider this: You can focus on the tongue and the techniques of tonguing at the sacrifice of the music. There are musicians who tongue too well, or at least too intensely, too thickly, and too often. This can have a deadly effect on attacks, legato playing, tone creation, the virtual openness of the oral cavity and throat, breath support, embouchure—the whole range of trombone playing.
The most frequent tonguing difficulty that trombonists have is rapid tonguing in a static or confined situation. Tonguing on single notes or short scales and cannot precisely coordinate the slide, embouchure, and tongue into one effortlessly functioning system. This normally results in the uncertain, erratic effect we all know and love called "trombone musician (or worse, the trombone section) attempting to play fast and almost making it." You know the sound: The music starts at the right place and time, and usually ends somewhere near the right place and time, but in between is a disaster. The trombonist (s) could be playing almost any pitches.
With this knowledge, use the tonguing technique with caution. If you can utilize it and your music flows then great, but if you are forcing this technique you are better off using a different method. Always perform you musical pieces according to your personal style and never try to be the same as another musician. Striving for excellence is outstanding – trying to be a clone is worthless.