Staccato (English) - Versionsgeschichte

Heinrich: /* Simultaneous Control over three Functions of the Tongue */

2021-05-01T21:36:59Z

Simultaneous Control over three Functions of the Tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:36 Uhr
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	#The '''tip of the tongue''' articulates at the reed, it interrupts the vibration of the reed and releases it again. Furthermore, the position of the tip of the tongue influences [[intonation]] and [[timbre]].		#The '''tip of the tongue''' articulates at the reed, it interrupts the vibration of the reed and releases it again. Furthermore, the position of the tip of the tongue influences [[intonation]] and [[timbre]].
	#The '''middle area''' of the tongue is involved in [[Voicing and Singing\|voicing]], thereby influencing intonation and timbre, and regulating air velocity. Faster airflow is especially important for response in upper registers.		#The '''middle area''' of the tongue is involved in [[Voicing and Singing\|voicing]], thereby influencing intonation and timbre, and regulating air velocity. Faster airflow is especially important for response in upper registers.
	#The '''posterior region''' of the tongue and the soft palate shape the pharynx as a [[Voicing and Singing#The Oral Cavity as a Resonance Chamber\|resonance chamber]]. Sound fullness is optimized when the intrinsic resonances in the oral cavity match the resonances in the instrument (see Jonston 1999<ref>RB Johnston, PG Clinch, GJ Troup 1999. The Role of Vocal Tract Resonance in Woodwind Instrument Playing R Johnston, Acoustics Australia 14 (3), 67-69. [https://www.researchgate.net/publication/330009929_The_Role_of_Vocal_Tract_Resonance_in_Woodwind_Instrument_Playing?channel=doi&linkId=5c29a964a6fdccfc707322f9&showFulltext=true ~~www.researchgate.net~~ researchgate.net]. Retrieved December 19, 2020</ref>).		#The '''posterior region''' of the tongue and the soft palate shape the pharynx as a [[Voicing and Singing#The Oral Cavity as a Resonance Chamber\|resonance chamber]]. Sound fullness is optimized when the intrinsic resonances in the oral cavity match the resonances in the instrument (see Jonston 1999<ref>RB Johnston, PG Clinch, GJ Troup 1999. The Role of Vocal Tract Resonance in Woodwind Instrument Playing R Johnston, Acoustics Australia 14 (3), 67-69. [https://www.researchgate.net/publication/330009929_The_Role_of_Vocal_Tract_Resonance_in_Woodwind_Instrument_Playing?channel=doi&linkId=5c29a964a6fdccfc707322f9&showFulltext=true researchgate.net]. Retrieved December 19, 2020</ref>).
	If these three functions of the tongue can be performed simultaneously and independently, a staccato with a sound quality equal to legato can be achieved. When articulating (1), therefore, only the tip of the tongue should move. The other areas (2 and 3) of the tongue perform their specific functions independently.		If these three functions of the tongue can be performed simultaneously and independently, a staccato with a sound quality equal to legato can be achieved. When articulating (1), therefore, only the tip of the tongue should move. The other areas (2 and 3) of the tongue perform their specific functions independently.
	The interview partners agree on the following:		The interview partners agree on the following:

Heinrich: /* Variations of Onset and Tone Ending */

2021-05-01T21:36:10Z

Variations of Onset and Tone Ending

← Nächstältere Version		Version vom 1. Mai 2021, 23:36 Uhr
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	The point of contact on tongue can also vary, ranging from a slightly larger area to a "dot" at the very front of the tip of the tongue to a spot just below it ([[Robert Pickup#Articulation\|Robert Pickup]]).		The point of contact on tongue can also vary, ranging from a slightly larger area to a "dot" at the very front of the tip of the tongue to a spot just below it ([[Robert Pickup#Articulation\|Robert Pickup]]).
	<br><br>		<br><br>
	To make the sound decay more slowly, the tongue can touch the uppermost edge of the reed or a corner very lightly so that, given sufficient air pressure and air speed, the reed will continue to vibrate in quieter dynamics even while in contact with the tongue. Pulling back the tongue allows the reed to vibrate again in its full amplitude. When the tongue returns to the tip of the reed, the reed continues to vibrate with a dampened, or even decreasing, vibration. This technique imitates the staccato of a stringed instrument ([[Pascal Moraguès#Le legato est la base du staccato\|Pascal Moraguès]], [[Eli Eban#Where does the tongue touch the reed?\|Eli Eban]]). It follows the tradition of '''Leopold Mozart''' (1756)<ref>Leopold Mozart Violin School, published by the International Mozarteum Foundation, Salzburg [https://dme.mozarteum.at/digital-editions/violinschule#5-0-3 ~~The Fifth Main Piece.§3~~]. Retrieved February 2, 2021</ref>, who calls for a fading in "dal niente" and a fading out "al niente" at each tempo and on each note. In slower tempos, the end of the note can also be led to pianissimo with the breathing technique.		To make the sound decay more slowly, the tongue can touch the uppermost edge of the reed or a corner very lightly so that, given sufficient air pressure and air speed, the reed will continue to vibrate in quieter dynamics even while in contact with the tongue. Pulling back the tongue allows the reed to vibrate again in its full amplitude. When the tongue returns to the tip of the reed, the reed continues to vibrate with a dampened, or even decreasing, vibration. This technique imitates the staccato of a stringed instrument ([[Pascal Moraguès#Le legato est la base du staccato\|Pascal Moraguès]], [[Eli Eban#Where does the tongue touch the reed?\|Eli Eban]]). It follows the tradition of '''Leopold Mozart''' (1756)<ref>Leopold Mozart Violin School, published by the International Mozarteum Foundation, Salzburg. The Fifth Main Piece.§3 [https://dme.mozarteum.at/digital-editions/violinschule#5-0-3 International Mozarteum Foundation, Salzburg]. Retrieved February 2, 2021</ref>, who calls for a fading in "dal niente" and a fading out "al niente" at each tempo and on each note. In slower tempos, the end of the note can also be led to pianissimo with the breathing technique.
	<br><br>		<br><br>
	Depending on the musical context, it is appropriate to blow a single note even without tongue articulation, with a short or violent, or more subdued air accent. If the tempo permits, in a series of accented staccati the tongue articulation can be supported with air accents to round it off dynamically.		Depending on the musical context, it is appropriate to blow a single note even without tongue articulation, with a short or violent, or more subdued air accent. If the tempo permits, in a series of accented staccati the tongue articulation can be supported with air accents to round it off dynamically.

Heinrich: /* Simultaneous Control over three Functions of the Tongue */

2021-05-01T21:34:43Z

Simultaneous Control over three Functions of the Tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:34 Uhr
Zeile 37:		Zeile 37:
	#The '''tip of the tongue''' articulates at the reed, it interrupts the vibration of the reed and releases it again. Furthermore, the position of the tip of the tongue influences [[intonation]] and [[timbre]].		#The '''tip of the tongue''' articulates at the reed, it interrupts the vibration of the reed and releases it again. Furthermore, the position of the tip of the tongue influences [[intonation]] and [[timbre]].
	#The '''middle area''' of the tongue is involved in [[Voicing and Singing\|voicing]], thereby influencing intonation and timbre, and regulating air velocity. Faster airflow is especially important for response in upper registers.		#The '''middle area''' of the tongue is involved in [[Voicing and Singing\|voicing]], thereby influencing intonation and timbre, and regulating air velocity. Faster airflow is especially important for response in upper registers.
	#The '''posterior region''' of the tongue and the soft palate shape the pharynx as a [[Voicing and Singing#The Oral Cavity as a Resonance Chamber\|resonance chamber]]. Sound fullness is optimized when the intrinsic resonances in the oral cavity match the resonances in the instrument ( see Jonston 1999<ref>RB Johnston, PG Clinch, GJ Troup 1999. The Role of Vocal Tract Resonance in Woodwind Instrument Playing R Johnston, Acoustics Australia 14 (3), 67-69. [https://www.researchgate.net/publication/330009929_The_Role_of_Vocal_Tract_Resonance_in_Woodwind_Instrument_Playing?channel=doi&linkId=5c29a964a6fdccfc707322f9&showFulltext=true www.researchgate.net]. Retrieved December 19, 2020}</ref>).		#The '''posterior region''' of the tongue and the soft palate shape the pharynx as a [[Voicing and Singing#The Oral Cavity as a Resonance Chamber\|resonance chamber]]. Sound fullness is optimized when the intrinsic resonances in the oral cavity match the resonances in the instrument (see Jonston 1999<ref>RB Johnston, PG Clinch, GJ Troup 1999. The Role of Vocal Tract Resonance in Woodwind Instrument Playing R Johnston, Acoustics Australia 14 (3), 67-69. [https://www.researchgate.net/publication/330009929_The_Role_of_Vocal_Tract_Resonance_in_Woodwind_Instrument_Playing?channel=doi&linkId=5c29a964a6fdccfc707322f9&showFulltext=true www.researchgate.net researchgate.net]. Retrieved December 19, 2020</ref>).
	If these three functions of the tongue can be performed simultaneously and independently, a staccato with a sound quality equal to legato can be achieved. When articulating (1), therefore, only the tip of the tongue should move. The other areas (2 and 3) of the tongue perform their specific functions independently.		If these three functions of the tongue can be performed simultaneously and independently, a staccato with a sound quality equal to legato can be achieved. When articulating (1), therefore, only the tip of the tongue should move. The other areas (2 and 3) of the tongue perform their specific functions independently.
	The interview partners agree on the following:		The interview partners agree on the following:
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	*After the tongue is pulled back, i.e., after the reed vibration is released, the tongue remains as close as possible to the place where it touched the reed ([[John Moses#Tongue position: never let the tongue fall back\|John Moses]], [[Thomas Piercy#Movements of the tongue\|Thomas Piercy]]).		*After the tongue is pulled back, i.e., after the reed vibration is released, the tongue remains as close as possible to the place where it touched the reed ([[John Moses#Tongue position: never let the tongue fall back\|John Moses]], [[Thomas Piercy#Movements of the tongue\|Thomas Piercy]]).
	*The staccato movement of the tongue is not a "pushing" of the tongue against the reed. The tongue is pulled back from its point of contact with the reed, releasing the vibration of the reed ([[John Moses#Articulation is pulling back the tongue from the reed\|John Moses]]).		*The staccato movement of the tongue is not a "pushing" of the tongue against the reed. The tongue is pulled back from its point of contact with the reed, releasing the vibration of the reed ([[John Moses#Articulation is pulling back the tongue from the reed\|John Moses]]).

			[[Kategorie:Fundamentals, English]]

	=Didactic Ways - from "non legato" to "staccatissimo"=		=Didactic Ways - from "non legato" to "staccatissimo"=
	To separate a sequence of notes from each other, the tongue touches the reed with the smallest movement and the smallest pressure [[Michel Westphal#Toucher l'anche doucement\|Michel Westphal]]. If the air pressure continues, the reed vibration is damped or stopped completely. In "non legato" the tip of the tongue touches the reed only very briefly. To change the mode of articulation from "non legato" to "portato" to "staccato" to "staccatissimo", i.e. to play with longer pauses in articulation, the moment of contact of the tongue with the reed is prolonged.		To separate a sequence of notes from each other, the tongue touches the reed with the smallest movement and the smallest pressure [[Michel Westphal#Toucher l'anche doucement\|Michel Westphal]]. If the air pressure continues, the reed vibration is damped or stopped completely. In "non legato" the tip of the tongue touches the reed only very briefly. To change the mode of articulation from "non legato" to "portato" to "staccato" to "staccatissimo", i.e. to play with longer pauses in articulation, the moment of contact of the tongue with the reed is prolonged.

Heinrich: /* Didactic Ways - from "non legato" to "staccatissimo" */

2021-05-01T21:33:30Z

Didactic Ways - from "non legato" to "staccatissimo"

← Nächstältere Version		Version vom 1. Mai 2021, 23:33 Uhr
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	*The starting point in teaching the staccato technique is legato. At the beginning, the notes are barely separated by the movement of the tongue; the tongue touches the reed only very briefly, so it hardly deviates from its [[Voicing and Singing#Vowel Shaping Controls Timbre, Intonation, and Response\|tone-forming position]]. In small steps, the articulation pauses are then lengthened, and the tongue remains in contact with the reed for a correspondingly longer time. At each learning step, the focus remains on sound quality. The staccato must have the same sound quality as the legato.		*The starting point in teaching the staccato technique is legato. At the beginning, the notes are barely separated by the movement of the tongue; the tongue touches the reed only very briefly, so it hardly deviates from its [[Voicing and Singing#Vowel Shaping Controls Timbre, Intonation, and Response\|tone-forming position]]. In small steps, the articulation pauses are then lengthened, and the tongue remains in contact with the reed for a correspondingly longer time. At each learning step, the focus remains on sound quality. The staccato must have the same sound quality as the legato.
	* A second, complementary approach is practiced by [[James Campbell#Two ways to learn a short staccato\|James Campbell]], [[François Benda#Tone onset and ending are determined by the tongue\|François Benda]]:		* A second, complementary approach is practiced by [[James Campbell#Two ways to learn a short staccato\|James Campbell]], [[François Benda#Tone onset and ending are determined by the tongue\|François Benda]]:
	<br>From the beginning, a short articulation is trained. Longer pauses in articulation occur between tones, during which the tongue touches the reed. Pulling the tongue away from the reed releases the vibration of the reed for only a brief moment to allow a short tone to sound. Daniel Bonade (1962)<ref name=Bonade>Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. [https://www.vancouverconcertband.ca/images/pdfdocuments/AVP74_Leblanc_Clarinetists_Compendium.pdf]</ref> combines this technique with an exercise in coordinating tongue and finger movements. During the articulation pause - the tongue touches the reed, air pressure is maintained - the fingers prepare for the grip of the next note. Pulling the tongue away then allows the next note to sound, and the process is repeated.		<br>From the beginning, a short articulation is trained. Longer pauses in articulation occur between tones, during which the tongue touches the reed. Pulling the tongue away from the reed releases the vibration of the reed for only a brief moment to allow a short tone to sound. Daniel Bonade (1962)<ref name=Bonade>Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. [https://www.vancouverconcertband.ca/images/pdfdocuments/AVP74_Leblanc_Clarinetists_Compendium.pdf Leblanc Clarinetists Compendium] Retrieved Mai 1, 2021</ref> combines this technique with an exercise in coordinating tongue and finger movements. During the articulation pause - the tongue touches the reed, air pressure is maintained - the fingers prepare for the grip of the next note. Pulling the tongue away then allows the next note to sound, and the process is repeated.
	In both ways, care must be taken to ensure that only the tip of the tongue is involved in articulation; the middle and back portions of the tongue remain involved in vowel and resonance formation. These functions must not be affected by the articulation movements.		In both ways, care must be taken to ensure that only the tip of the tongue is involved in articulation; the middle and back portions of the tongue remain involved in vowel and resonance formation. These functions must not be affected by the articulation movements.
	===Variations of Onset and Tone Ending===		===Variations of Onset and Tone Ending===

Heinrich: /* Variations of Onset and Tone Ending */

2021-05-01T21:31:25Z

Variations of Onset and Tone Ending

← Nächstältere Version		Version vom 1. Mai 2021, 23:31 Uhr
Zeile 57:		Zeile 57:
	The point of contact on tongue can also vary, ranging from a slightly larger area to a "dot" at the very front of the tip of the tongue to a spot just below it ([[Robert Pickup#Articulation\|Robert Pickup]]).		The point of contact on tongue can also vary, ranging from a slightly larger area to a "dot" at the very front of the tip of the tongue to a spot just below it ([[Robert Pickup#Articulation\|Robert Pickup]]).
	<br><br>		<br><br>
	To make the sound decay more slowly, the tongue can touch the uppermost edge of the reed or a corner very lightly so that, given sufficient air pressure and air speed, the reed will continue to vibrate in quieter dynamics even while in contact with the tongue. Pulling back the tongue allows the reed to vibrate again in its full amplitude. When the tongue returns to the tip of the reed, the reed continues to vibrate with a dampened, or even decreasing, vibration. This technique imitates the staccato of a stringed instrument ([[Pascal Moraguès#Le legato est la base du staccato\|Pascal Moraguès]], [[Eli Eban#Where does the tongue touch the reed?\|Eli Eban]]). It follows the tradition of '''Leopold Mozart''' (1756)<ref>Leopold Mozart Violin School, published by the International Mozarteum Foundation, Salzburg [https://dme.mozarteum.at/digital-editions/violinschule#5-0-3 The Fifth Main Piece.§3] {February 2, 2021}</ref>, who calls for a fading in "dal niente" and a fading out "al niente" at each tempo and on each note. In slower tempos, the end of the note can also be led to pianissimo with the breathing technique.		To make the sound decay more slowly, the tongue can touch the uppermost edge of the reed or a corner very lightly so that, given sufficient air pressure and air speed, the reed will continue to vibrate in quieter dynamics even while in contact with the tongue. Pulling back the tongue allows the reed to vibrate again in its full amplitude. When the tongue returns to the tip of the reed, the reed continues to vibrate with a dampened, or even decreasing, vibration. This technique imitates the staccato of a stringed instrument ([[Pascal Moraguès#Le legato est la base du staccato\|Pascal Moraguès]], [[Eli Eban#Where does the tongue touch the reed?\|Eli Eban]]). It follows the tradition of '''Leopold Mozart''' (1756)<ref>Leopold Mozart Violin School, published by the International Mozarteum Foundation, Salzburg [https://dme.mozarteum.at/digital-editions/violinschule#5-0-3 The Fifth Main Piece.§3]. Retrieved February 2, 2021</ref>, who calls for a fading in "dal niente" and a fading out "al niente" at each tempo and on each note. In slower tempos, the end of the note can also be led to pianissimo with the breathing technique.
	<br><br>		<br><br>
	Depending on the musical context, it is appropriate to blow a single note even without tongue articulation, with a short or violent, or more subdued air accent. If the tempo permits, in a series of accented staccati the tongue articulation can be supported with air accents to round it off dynamically.		Depending on the musical context, it is appropriate to blow a single note even without tongue articulation, with a short or violent, or more subdued air accent. If the tempo permits, in a series of accented staccati the tongue articulation can be supported with air accents to round it off dynamically.

Heinrich: /* Double tongue */

2021-05-01T21:30:09Z

Double tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:30 Uhr
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	To achieve optimal control, working with the smallest possible articulation movements with a quasi-continuous sound promises the best results. The advice of [[David Shifrin#Keeping the tongue in the same consistent position\|David Shifrin]], that the tongue should remain in ''one'' consistent position as much as possible, is also applied with success to the double tonguing technique.		To achieve optimal control, working with the smallest possible articulation movements with a quasi-continuous sound promises the best results. The advice of [[David Shifrin#Keeping the tongue in the same consistent position\|David Shifrin]], that the tongue should remain in ''one'' consistent position as much as possible, is also applied with success to the double tonguing technique.
	<br>		<br>
	Since the double-tongue technique is used only at fast tempi, not only does the articulated note sound very short, but the pauses in articulation between notes, i.e., the moment when the tongue touches the palate or reed, must also be of correspondingly short duration. For this purpose, it is advisable to look for a point of contact of the tongue between the hard and soft palate. This way, when the tongue leaves the point of articulation, it immediately releases air and air pressure. Analogous to the exercise in which the tip of the tongue touches the reed and allows its vibration to continue (see [[Heinrich Mätzener# How are individual tones separated? \|[[Heinrich Mätzener]]), the back of the tongue can also touch the palate only lightly enough to allow the air to continue flowing. The sound is then not interrupted in the process.		Since the double-tongue technique is used only at fast tempi, not only does the articulated note sound very short, but the pauses in articulation between notes, i.e., the moment when the tongue touches the palate or reed, must also be of correspondingly short duration. For this purpose, it is advisable to look for a point of contact of the tongue between the hard and soft palate. This way, when the tongue leaves the point of articulation, it immediately releases air and air pressure. Analogous to the exercise in which the tip of the tongue touches the reed and allows its vibration to continue (see [[Heinrich Mätzener# How are individual tones separated?\|Heinrich Mätzener]]), the back of the tongue can also touch the palate only lightly enough to allow the air to continue flowing. The sound is then not interrupted in the process.

	'''Learning steps'''		'''Learning steps'''
	<br>According to [https://www.youtube.com/watch?v=wmuW6s9B-tk Sérgio Pires]. Always work with long sounding notes and with short articulation pauses (French "louré", or "non legato", never "staccatissimo"). If this method is followed, it will be easy to play a short sounding staccato afterwards.		<br>According to [https://www.youtube.com/watch?v=wmuW6s9B-tk Sérgio Pires]. Always work with long sounding notes and with short articulation pauses (French "louré", or "non legato", never "staccatissimo"). If this method is followed, it will be easy to play a short sounding staccato afterwards.
	# Practice articulation with the back tongue: start with a sustained note between c<sup>1</sup> and g<sup>1</sup> and articulate single notes at the same pitch. Find the optimal articulation point between the back of the tongue and the hard/soft palate, calibrating the articulation consonant between a soft "gi" and a "chi" as in German "ich". Let the sound sound for a long time between articulation movements, pay attention to a well-functioning, [[Breathing ~~technique~~#~~Breath control~~\|~~Breath control~~ ]] and [[Breathing ~~technique~~#Breath ~~support~~\|~~Breath~~ support]].		# Practice articulation with the back tongue: start with a sustained note between c<sup>1</sup> and g<sup>1</sup> and articulate single notes at the same pitch. Find the optimal articulation point between the back of the tongue and the hard/soft palate, calibrating the articulation consonant between a soft "gi" and a "chi" as in German "ich". Let the sound sound for a long time between articulation movements, pay attention to a well-functioning, [[Breathing#Airflow\|airflow]] and [[Breathing#Breath Support\|breath support]].
	# Make sure that during the movements of the "gi" the tip of the tongue rests unchanged in its position near the blade.		# Make sure that during the movements of the "gi" the tip of the tongue rests unchanged in its position near the blade.
	# Combine - at a very slow tempo - both types of articulation. Start with "gi", play "gi-di-gi-di".		# Combine - at a very slow tempo - both types of articulation. Start with "gi", play "gi-di-gi-di".
	# Pay attention to the smallest possible movements of the tip and back of the tongue.		# Pay attention to the smallest possible movements of the tip and back of the tongue.
	# The [[~~breathing technique~~#~~breath control~~\|~~breath control~~]] and [[~~breathing technique~~#~~breath support~~\|breath support]] need a little more energy		# The [[Breathing#Airflow\|airflow]] and [[Breathing#Breath Support\|breath support]] need a little more energy
	# Maintain at a slow tempo the change of register a<sup>1</sup> - b<sup>1</sup>.		# Maintain at a slow tempo the change of register a<sup>1</sup> - b<sup>1</sup>.
	# From pitch a<sup>2</sup> onward, the responses at "gi" can be made easier by inflating the jaws.		# From pitch a<sup>2</sup> onward, the responses at "gi" can be made easier by inflating the jaws.

Heinrich: /* Simple Tongue */

2021-05-01T21:13:44Z

Simple Tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:13 Uhr
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	=Fast Staccato=		=Fast Staccato=
	==Simple Tongue==		==Simple Tongue==
	[[Datei:Jean Prançois Philipp staccato.png\|mini\|\|x200px\|left\|Jean-François Philipp, staccato avancé. [[https://youtu.be/paQ10Vd_gwM?t=76 recommended video]]		[[Datei:Jean Prançois Philipp staccato.png\|mini\|\|x200px\|left\|Jean-François Philipp, staccato avancé. [https://youtu.be/paQ10Vd_gwM?t=76 recommended video]]]
	[[Michel Arrignon#Détaché réflexe\|Michel Arrignon]] uses the term "détaché réflexe" for fast staccato. He uses it to describe a very rapid withdrawal of the tip of the tongue from the reed, which is not consciously controlled by the movement center in the brain. The movement is comparable to the reflexive withdrawal of the fingertips when they have touched a red-hot object.		[[Michel Arrignon#Détaché réflexe\|Michel Arrignon]] uses the term "détaché réflexe" for fast staccato. He uses it to describe a very rapid withdrawal of the tip of the tongue from the reed, which is not consciously controlled by the movement center in the brain. The movement is comparable to the reflexive withdrawal of the fingertips when they have touched a red-hot object.
	<br>		<br>

Heinrich: /* Double tongue */

2021-05-01T21:13:03Z

Double tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:13 Uhr
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	==Double tongue==		==Double tongue==
	[[File:Sergio Pires Double Tongue.png\|mini\|left\|x210px\|		[[File:Sergio Pires Double Tongue.png\|mini\|left\|x210px\|
	Sérgio Pires [https://www.youtube.com/watch?v=wmuW6s9B-tk recommended video]]		Sérgio Pires [https://www.youtube.com/watch?v=wmuW6s9B-tk recommended video]]]
	In the double tongue technique, articulation movements are made alternately with the tip of the tongue at the front of the reed, and with the back of the tongue at the back of the palate (e.g., with the syllables di-gi-di-gi). The tempo of staccato passages can be markedly increased in this way.		In the double tongue technique, articulation movements are made alternately with the tip of the tongue at the front of the reed, and with the back of the tongue at the back of the palate (e.g., with the syllables di-gi-di-gi). The tempo of staccato passages can be markedly increased in this way.
	<br>		<br>
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	# From pitch a<sup>2</sup> onward, the responses at "gi" can be made easier by inflating the jaws.		# From pitch a<sup>2</sup> onward, the responses at "gi" can be made easier by inflating the jaws.
	# Practice with larger sound groups and spaces and, increase the tempo. Focus on air leading in higher registers, always begin with "gi."		# Practice with larger sound groups and spaces and, increase the tempo. Focus on air leading in higher registers, always begin with "gi."

			[[Kategorie:Fundamentals, English]]

	=References=		=References=
	<references />		<references />

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Simple Tongue */

2021-05-01T21:12:30Z

Simple Tongue

← Nächstältere Version		Version vom 1. Mai 2021, 23:12 Uhr
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	=Fast Staccato=		=Fast Staccato=
	==Simple Tongue==		==Simple Tongue==
	[[~~File~~:Jean Prançois Philipp staccato.png\|mini\|\|x200px\|left\|Jean-François Philipp, staccato avancé. [[https://youtu.be/paQ10Vd_gwM?t=76 recommended video]]		[[Datei:Jean Prançois Philipp staccato.png\|mini\|\|x200px\|left\|Jean-François Philipp, staccato avancé. [[https://youtu.be/paQ10Vd_gwM?t=76 recommended video]]
	[[Michel Arrignon#Détaché réflexe\|Michel Arrignon]] uses the term "détaché réflexe" for fast staccato. He uses it to describe a very rapid withdrawal of the tip of the tongue from the reed, which is not consciously controlled by the movement center in the brain. The movement is comparable to the reflexive withdrawal of the fingertips when they have touched a red-hot object.		[[Michel Arrignon#Détaché réflexe\|Michel Arrignon]] uses the term "détaché réflexe" for fast staccato. He uses it to describe a very rapid withdrawal of the tip of the tongue from the reed, which is not consciously controlled by the movement center in the brain. The movement is comparable to the reflexive withdrawal of the fingertips when they have touched a red-hot object.
	<br>		<br>
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	#Variation: articulate the first note into a group of fast staccati using only the air. This exercise also serves to control the position of the tongue (very close to the reed) and its smallest possible movement.		#Variation: articulate the first note into a group of fast staccati using only the air. This exercise also serves to control the position of the tongue (very close to the reed) and its smallest possible movement.

			[[Kategorie:Fundamentals, English]]

	==Double tongue==		==Double tongue==

Heinrich: /* Variations of TOnset and Tone Ending */

2021-05-01T21:11:56Z

Variations of TOnset and Tone Ending

← Nächstältere Version		Version vom 1. Mai 2021, 23:11 Uhr
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	<br>From the beginning, a short articulation is trained. Longer pauses in articulation occur between tones, during which the tongue touches the reed. Pulling the tongue away from the reed releases the vibration of the reed for only a brief moment to allow a short tone to sound. Daniel Bonade (1962)<ref name=Bonade>Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. [https://www.vancouverconcertband.ca/images/pdfdocuments/AVP74_Leblanc_Clarinetists_Compendium.pdf]</ref> combines this technique with an exercise in coordinating tongue and finger movements. During the articulation pause - the tongue touches the reed, air pressure is maintained - the fingers prepare for the grip of the next note. Pulling the tongue away then allows the next note to sound, and the process is repeated.		<br>From the beginning, a short articulation is trained. Longer pauses in articulation occur between tones, during which the tongue touches the reed. Pulling the tongue away from the reed releases the vibration of the reed for only a brief moment to allow a short tone to sound. Daniel Bonade (1962)<ref name=Bonade>Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. [https://www.vancouverconcertband.ca/images/pdfdocuments/AVP74_Leblanc_Clarinetists_Compendium.pdf]</ref> combines this technique with an exercise in coordinating tongue and finger movements. During the articulation pause - the tongue touches the reed, air pressure is maintained - the fingers prepare for the grip of the next note. Pulling the tongue away then allows the next note to sound, and the process is repeated.
	In both ways, care must be taken to ensure that only the tip of the tongue is involved in articulation; the middle and back portions of the tongue remain involved in vowel and resonance formation. These functions must not be affected by the articulation movements.		In both ways, care must be taken to ensure that only the tip of the tongue is involved in articulation; the middle and back portions of the tongue remain involved in vowel and resonance formation. These functions must not be affected by the articulation movements.
	===Variations of ~~TOnset~~ and Tone Ending===		===Variations of Onset and Tone Ending===
	In order to produce a "drier staccato" and to stop the sound immediately, the area of contact between the tongue and the tip of the reed is increased downward until the vibration is completely damped while maintaining airflow ([[Heinrich Mätzener]]). The point of contact ([[Sylvie Hue#La fonction de la langue\|"point d'impact"]]) can also be between the reed tip and heart ([[Eli Eban#Where does the tongue touch the reed? \|Eli Eban]], [[Sylvie Hue#La fonction de la langue\|Sylvie Hue]], [[Steve Hartman#Tonguing\|Steve Hartman]]) can be selected, two to three millimeters below the leaf tip.		In order to produce a "drier staccato" and to stop the sound immediately, the area of contact between the tongue and the tip of the reed is increased downward until the vibration is completely damped while maintaining airflow ([[Heinrich Mätzener]]). The point of contact ([[Sylvie Hue#La fonction de la langue\|"point d'impact"]]) can also be between the reed tip and heart ([[Eli Eban#Where does the tongue touch the reed? \|Eli Eban]], [[Sylvie Hue#La fonction de la langue\|Sylvie Hue]], [[Steve Hartman#Tonguing\|Steve Hartman]]) can be selected, two to three millimeters below the leaf tip.
	<br>		<br>
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	<br>		<br>
	In a sequence of fast staccati, the first note can be articulated with air only, and the following note(s) with the tongue. This blends the parameters of dynamics and articulation, and according to the musical expression, the differentiated bowing technique of the string instruments can be imitated. [[David Shifrin#Staccato alwasy backed off by the wind\|David Shifrin]] compares the jumping of the tongue on a powerful air accent to the [https://www.youtube.com/watch?v=QTaI8K1z_8g ricochet] on a string instrument.		In a sequence of fast staccati, the first note can be articulated with air only, and the following note(s) with the tongue. This blends the parameters of dynamics and articulation, and according to the musical expression, the differentiated bowing technique of the string instruments can be imitated. [[David Shifrin#Staccato alwasy backed off by the wind\|David Shifrin]] compares the jumping of the tongue on a powerful air accent to the [https://www.youtube.com/watch?v=QTaI8K1z_8g ricochet] on a string instrument.

			[[Kategorie:Fundamentals, English]]

	=Fast Staccato=		=Fast Staccato=