A Guide to Tongue Position, Articulation, and Tongue Motion w/nearly anatomically correct drawings
Vložit
- čas přidán 6. 06. 2024
- Tonguing can be really complicated and difficult to learn because it is impossible to see what professionals are doing with their tongue, and sometimes even hard to know what your tongue is doing.
In this video, I give a visualization of the inside of the mouth and demonstrate proper and improper articulation, tongue motion, and tongue position.
Learn more about getting FREE access to the QuickStart Clarinet Member's Area that has all of my favorite clarinet handouts!
www.quickstartclarinet.com/ge...
Join the QuickStart Clarinet Facebook Community, to get even more tips, to ask questions, and to share accomplishments and other exciting clarinet information with each other!
/ quickstartclarinet
Thanks so much for watching!
#clarinet #learnclarinet
Excellent lesson. I am truly amazed at how straight to the point you get. I took 2 months worth of beginner lessons before my instructor said, "Oh, yeah. Don't start and stop your notes with your breathe. Use your tongue."
it took me 6 years....
Same 😭
This was very helpful. Thank you.
Best articulation video I've seen so far
I will practice as best I can. Many thanks for your help
You’re welcome! Thanks for watching!
Nicely described and explained! Articulation is really hard to do well, and this video gets to the heart of the matter! Thank you so much, Josh!
I’m glad you found it helpful!
I've seen a lot of videos about articulation, and this is simply the best. The tongue diagram and the explanation were absolute clarifying. Many thanks!
Awesome! I'm glad it helped!
Firstly, congratulations on reaching 750 subscribers! 👏👏👏 Secondly, thanks for another really useful video. This is exactly what I’ve been struggling with for the last couple of weeks, and your explanations have really helped. As you pointed out in the video, learning how to get your tongue moving independently from your jaw and your air support is tricky, and I was wondering if you have any suggestions for exercises that could help with this?
I’m glad it’s helping! Here is a Live Weekly Warm-Up that I did on my favorite exercise to work on this: Independent Tongue Motion - Live Weekly Warm-Up czcams.com/video/U13rvkUDyfg/video.html
This video was so helpful!! After nearly 6 years of playing, I finally understand what was holding me back and why I couldn't achieve what I wanted to musically. Apparently I've been anchor tonguing my whole life and it hasn't allowed me to tongue as fast or as cleanly as I want. I'm trying to work on the "normal" tonguing technique now but it's pretty hard. I'm running into the issue that in an attempt to tongue higher up on the reed, I'm tonguing the roof of my mouth or tonguing too hard. I'm sure with more practice I'll get the hang of it eventually. Thanks so much again!!
Yes, switching from anchor tonguing can be tricky for sure! As you are experimenting with moving the tip of the tongue differently, don't forget to keep strong steady air and embouchure. The issues you are hearing with the tongue feeling too hard is probably more issues with the air support weakening or being out of position rather than the tongue just being too firm.
Omg tysm for making this video.
Yk I’ve been playing clarinet for over a decade now in the middle of practicing for a grade 8 exam, and it was only a couple of weeks ago when I heard the phrase ‘top of the tongue to the tip of the reed’, so I’ve been panicking to figure out what I’m supposed to do and it turns out that I’ve been anchor tonguing really bad this whole time. Definitely agree that it makes faster articulation sections harder to play. Great video!
I'm glad it helped! Good luck working on the anchor tonguing!
Thank you so much. Its realy helpful for me. You are a good teacher. Respect.
Hugs from Russia
Thanks! I’m glad you found it helpful!
I recently had a tongue/embouchure revelation and this video makes so much more sense to me now that I learned what I was doing wrong. I had a tongue position that gave a really good sound and decent tongue speed but never as fast as needed. I did everything over and over again, even super slow progressions of speed over a long time. The good sound deceived me and I guess that’s just what I’ve been doing forever! Now things feel locked in, my sound instantly got a sweetness that I’ve been missing and I was able to tongue fast and legato with ease. Really exciting!
That's awesome! What was the revelation? Was it keeping the voicing more steady and moving less of the tongue?
Thanks. I’m a saxophonist and we use anchor tonguing. My default is to anchor tongue on clarinet as well, it works for me but I’m worried it’ll turn into a habit I’ll regret when I get to a higher level. I’m trying to use the tip of my tongue but it’s hard! I squeak a lot.
It is really easy for the middle of the tongue to end up too high or not in the right position (causing squeaks) as you try to get the tip of the tongue in the right place. Just keep practicing though thinking about making as little difference as possible between slurring and tonguing!
Also, I am not as much of an expert on saxophone, but I am pretty sure it is kind of a bad habit to anchor tongue on saxophone as well.
This video has been really helpful for me, as a recorder player you’re taught to never touch the mouthpiece with your teeth/tongue, and to tut to articulate, so coming to the clarinet has been confusing for me! I’ve only been playing for 3 weeks, but I know my tongue is not doing what it’s supposed to. I’ve definitely been anchor tonging as well. Do you have any tips on exercises or things to physically do with your tongue to teach it to be in the correct position? I know so much about where it’s supposed to be, but I’m really struggling putting it into practise. Thank you so much for your really useful video 🫂
I’m glad you found it helpful! I feel like there are lots of bad habits that can come from starting on recorder!
This video may be helpful for working on anchor tonguing: czcams.com/video/s3VI2LCKaX0/video.html
Moving your tongue slowly to and from the reed will help you to stay in control of how much of it is moving and where it is going.
Hi Josh. After studying your video I definitely use anchor tonguing to articulate the high notes - mystery solved! I now need to decide whether I should try to change or not!
O no! That is really so common though! I think about 95% of teachers would say that you should work on changing it. If you are tonguing with the tip of the tongue hitting the tip of the reed on the low notes, then I would recommend doing some scale articulation where you tongue several notes on each pitch and then work your way up. Go nice and slow so that you can really pay attention to keeping your tongue moving in exactly the same way as you move up. Good luck!
Nice explained, I explain it similar to my students 😊
Nice!
Josh...I've always been an anchor tongue player and made the decision to change to tip to tip but was really struggling with too much tongue movement. This video really turned on the lightbulb for me. Keeping the back of the tongue nice and high and resting against the top teeth molars has stabilized the tongue so only my tip moves.
That’s fantastic! Good luck as you continue to adapt!
Hi,
I appreciate very much this video
It's very informative!
Congratulations!
I wonder if the principles of tongue position and the tongue articulation you talk about in it, can be applied to play the Bass Clarinet.
I would like if possible to have a response from you.
Thank you and once more congratulations and keep up posting more informative videos.
I'm glad you liked the video! Yes, bass clarinet is very similar. The reed is a bit bigger so you maybe need a little more tongue on the reed to dampen the vibrations, and (depending on your instrument) the angle of the mouthpiece going into your mouth may be a little different, which will slightly change the angle that you aim the air.
For the most part, bass clarinet is exactly the same as clarinet just bigger. Bigger slower air, bigger and more mouthpiece in your mouth, etc.
Thanks for another really helpful video. Short question: How important is the gear I use for these excercises? Of course, I want to have the best tone quality on my "real" clarinet, but I would surely practice more frequently (and for shorter pratices units) if I could use my plastic clarinet (with a good mouthpiece) for training because it needs less care-taking after playing.
I’m glad it helped! You can definitely do pretty much all your practice on a plastic clarinet. If it is with the same mouthpiece it will feel pretty similar to any other clarinet. The big differences would be it may be harder to sound as good as you want and the keys will feel different on your fingers.
I am clarinetist but also teach saxophone. You say move jaw a bit forward so that upper and lower teeth are in line. Can't agree with that, it usually produces squeeks. I always teach to dont move and sort of "lock" jaw in place.
About tonguing, for me contact happens slightly behind the tip of the tongue, 1/4 to 1/2 an inch maybe (depends on each persons tongue). Tongue is in its natural position, you just open your mouth and when you put in the mouthpiece, the tip of the reed comes exactly on the part of the tongue it needs to touch. Tip of the tongue gently touches lower lip.
On youtube there are several saxophonists that show it that way (Jay Metcalf from Bettersax channel and Scott Paddock). There is also interesting PDF file about tonguing that can be found on internet by clarinetist Edward Palanker. Also, clarinetist Rosemary Lang, who wrote the book "Short cuts to virtuoso technique" nicely illustrated and described tonguing on clarinet.
She says "Keep tongue arched with tip pointing toward inside of lower teeth. To tongue, touch edge of reed with top surface of tongue about 1/4 inch back from tip of tongue." I also read on the internet that Karl Leister and Mitchell Lurie anchor tongue. Im not sure if the method I described above is anchor tonguing or it is called "middle" tonguing or something else, we dont use those terms here in Europe, at least here where I live.
In my almost 20 years of teaching, this tonguing that me and others described has been proven best technique and not just because it works for me.
It is important to remember that teaching is just a description of doing. Whatever way of doing that best gets to your desired result is great! It is totally possible that when I say push the jaw forward and you say "lock the jaw in place" we actually mean the same sensation and are just describing it differently.
As for the tonguing, I think it is great to use a whole 1/4 inch or so of the tongue, and it doesn't need to be just the very tip or like "one tastebud" that I've heard people say before.
It sounds like Rosemary Lang's description is pretty much the same thing that I am suggesting. What would make it actually anchor tonguing would be if the tip of the tongue anchors to the bottom teeth or lip and just the middle of the tongue touches the reed.
Anchor tonguing does have the benefit of providing more stable voicing so it may remedy some of the upper clarion undertones and things like that at first. However, it has a big detriment when it comes to speed so most anchor tonguers have to learn double tonguing.
Yes there are a few great players and professionals who have used anchor tonguing, but the fact that you can name pretty much all of them goes to show that they are in the minority, and the vast majority of professionals don't anchor tongue, which is why I don't teach it.
Ultimately it is up to individual anatomy. If one has a large tongue and small mouth they may need the tip of the tongue to go all the way down to the bottom teeth/lip and anchor tongue, so there is enough space for the air flow. And, if that's not the case, then I would suggest not anchor tonguing and developing good independent control of the tip of the tongue for stable voicing and fast single tonguing.
After 6 years of playing clarinet this was sooo helpful lmao
Awesome! The tongue stuff can be really tricky!
You really helped with this video!! I realized that my tongue drops whenever i tongue. How long do you think it would take to correct this?
It depends on how quickly you are able to figure out how to not do that, and then how much attention you give it. It could be anywhere from 1 day to multiple years.
Focus on moving as little of your tongue as possible and keeping the air aiming at the note as you move the tongue. Good luck!
Do you tongue every note in a slur or is it just the first note. Sorry if missed this in video
Good question! Just the first note of a slur and if you have any repeated notes in a slur (that aren’t tied) then you lightly tongue them as well.
I still have this issue with anchor tonguing, I notice it when I played the 8 etude from the 32 for my region piece and when I got towards the end with the staccato part, I noticed, I’d get a sound, but it would slow me down because, I tongue too hard rather than a nice light tongue, and I haven’t found a fix, I try not tonguing hard, but i’m use to the habit, that it’s hard to lightly tongue
Try using a lot more air. If the air is strong and high pressure it is hard to tongue too hard. Good luck working on the anchor tonguing and getting the tip of the tongue to the tip of the reed!
@@QuickStartClarinet this issue is more apparent in the lower clarion, like B, C. C#, Eb/ D#. I can tongue fine on the chalumeau, but for example towards the end of the 8th etude from the 32. There is a staccato part that is fast, but it is like a scale, and once I tongue up to a B that’s when my attack gets kinda hard, I find it more resistant to tongue on those lower clarion notes
I think that supports my hypothesis that you need more air. Those more resistant notes need more air so it makes sense they don’t work as well if you don’t have good air support behind your tongue.
i have a question, so my teacher taught me to do "ta ta ta" do get this effect, i playling like this since 3 months (im beginner) and the harder pieces i play, between the notes you can hear the "ta", and i tried, but i cant change it
Saying "ta" is a decent way to feel the tongue motion for articulation (personally I prefer "dee"), but make sure you aren't actually saying "ta" when you tongue. If you actually vocalize anything it will mess up the air flow.
Try saying "ta" or "dee" to feel what the tongue is doing when you say that. Then, without the clarinet, try blowing and moving your tongue the same way without actually hearing the word just mimicking the tongue motion.
Then try that on the clarinet and remember the very most important part is that you are keeping the air and embouchure steady as if you are playing a long tone and then the tongue touches the reed to interrupt the reed vibrations.
@@QuickStartClarinet thanks for the tips, when i go out for walks i breathe like i would in a clarinet, and practice ways to articulate
but my problem is that the "ta" is now muscle memory, so it might take some time
thanks again and keep up the good work 👍
Articulation takes a long time to perfect! I played for 2 years before I even started touching my tongue to the reed. I struggled with staccato for about 14 years after that, and now after playing 18 years I am capable of really great articulation but still have to constantly be thinking about it to have any good consistency to it.
@@QuickStartClarinet i play since 4 months 🤣🤣, but i think im really dedicated, i practice 1.5 hours a day on average,
and thanks again for everything
have a good one!
I couldn't produce any sound from the mouse piece! I am so upset :( , any help?
Make sure you aren’t covering the opening on the bottom, double check that your reed is wet and on in the right spot. Check that you have enough mouthpiece in your mouth and it is at the right angle and then use lots of air focused right at the reed and don’t squeeze too tight with your embouchure.
👍
I tongue by softly touching the roof of my mouth x_x I see this is not common! Going to use this video in my next practice to see if I can get out of this habit...
O no! That is not common, but I have seen people who do that.
If it is the tip of your tongue touching the roof of your mouth then try to get your tongue more forward so the tip of your tongue touches the reed instead of the roof of your mouth.
This is a great video! I played bass clarinet for years in my youth and no one ever really taught me how to articulate with my tongue, and I developed this sort of 'cha cha' chewing method of tonguing. I'm getting back into it now after a 30 year break and just bought my first ever soprano clarinet (can't afford a bass cl just yet) and finding a 'how to tongue correctly' video is going to make a huge improvement in my playing ability....wish I would have had something like this 30 years ago
That’s awesome! There are so many little things that just can’t be taught in a band setting, and that’s what I’m here for. Enjoy getting back to your clarinet playing!
I have a problem with my clarinet... I was playing my clarinet today everything was fine but now it started to make squeaky sounds while playing. What could be the problem? The high notes sound good but the lower tones when I try to play them it does not work out it’s just squeaky. I’ve never had this kind a problem....
I hate it when that happens. It could be a whole lot of things. Start by changing your reed, then play the notes that are working well maybe an open G and then slowly work your way down to where it isn’t working. If there is a noticeable point where it starts squeaking or sounding bad then it could be an issue with your clarinet that needs to be repaired.
@@QuickStartClarinet the thing is I start from the notes that work an work my way down and those notes work but when I start to play from the lower notes it’s just awful and the worst is that I’ve got the clarinet today I bought a new one
Is this your first time playing? If so that is a really common mistake to not completely cover the holes on the lower notes. When you work your way down you pay good attention to covering everything but when you are just starting on the low notes it easy to miss a hole by just a little.
If you are a more experienced player and it is just an issue on this new clarinet then there may be an adjustment issue and I would suggest taking it in to a repair person.
@@QuickStartClarinet I guess I’ll have to send it to someone for repair... thank your very much for your help.
You’re welcome! If possible I would also recommend trying to find a local repair person. Usually they are cheaper and faster than taking it to a big store that sends it away to a dedicated repair place. It’s easier to cut out that middle man and go directly to the repair place yourself.
If you are near a university, try getting in touch with the clarinet professor and see who they recommend for a repair or look online for a dedicated repair shop.
The "thud" sound is unavoidable when I touch the reed with my tongue. Kind of frustrating.
The thud is usually caused from pushing into the reed too hard or even more likely not enough air for the sound to start immediately when the tongue comes off the reed.
Try this exercise to get the air going: czcams.com/video/VvDw6lREgeA/video.html
You may also need a harder reed, but I would need to know more about your reed and mouthpiece and hear you play to know for sure.
I hope that helps!
You are incorrect. The air can not be "pressurized " by the narrowing of the oral space in this case. The lung air pressure is alreasy present at the reed. There is nothing you can do with the tongue to increase that.
Obviously the air can only flow from high to lower pressure , if the tongue could "pressurize" the air , the air would then reverse and flow back into the lungs.
Ya, perhaps I am misusing the word pressurize or the idea of pressure.
Here is an article that gets more into the science of what I am talking about: clarinet.org/science-in-the-art-of-the-legato-2016-research-competition-winner/
What do you think would be a better way to describe that? Maybe the focus or speed of the air?
O ya, I was just reviewing that article and I think it is technically higher speed and lower pressure that the tongue is creating.
@@QuickStartClarinet neither, it's irrelevant , the lungs provide air pressure, the air pressure exists at the reed/ embouchure. You manipulate the reed/embouchure with the contact of these tissues. The tongue moves in tandem with the lip muscle actions. Its a coordinated action due to the mouth's native function, which is eating.
So are you saying tongue position doesn’t matter?
@@QuickStartClarinet hmm, yeaa.., This is a musician with no science experience that is making a gross misinterpretation of the laws of physics. It is very among brass musicians as well. the lips are manipulating the embouchure and the tongue reacts. End of story. Seems to be an incessant need to explain EVERYTHING in terms of air "speed" through the oral space. (Which is conveniently never actually measured)
10:55 you can't even do it...only beginners can do it
12:30 That was a good re-enactment
😂 ya, I think my air was too strong, so it actually still sounded pretty good!
Do do do do NOT to to to to. Never use the tip of your tongue!
For me do or to both use the same part of my tongue touching the reed. I only find the d consonant to be a little more gentle which is good.
I also like using an e vowel like Dee to keep the tongue position high.
You must have a very strange tongue, then. If I place the tip of my tongue anchoring it behind my lower teeth and try to pronounce "Tu" or "to do it.", the elocution sound is deformed. "Do sleep, perchance do dream" comes out. Do you hear the difference? To attack the reed with the very tip of the outstretched tongue is both insecure and slow and inefficient because of the complexity of the muscular fibers, innervation and weakness. "TU" is a harsh percussive non musical and therefore ugly noise. Compare the voice. The voice is the example of beauty and expression. Percussive noises have their place but as spice, as emphasis, as shock, as violence. Anti legato, in other words. "Doo", on the other hand, is all to do with legato abd phrasing, articulation that avails itself of rapid muscular tonguing - single-tonguing, that is. Double and triple tonguing is slightly different, of course. Check with the brass players for that. An entirely different embouchure is required for the obicularis Oris sphincter and associated muscles. The other method of rapid tonguing is, of course, the paint brush side to side lateral movement of the tongue. Obviously, every tongue is different, and the distance from the tip of the tongue to the area of the tongue that touches the space between the mouthpiece and reed will vary with individual anatomy. The anatomy of the tongue is beautifully complex, dexterous and versatile. Clarinet players are sorely uneducated in many important ways! I have been bemused by this universal ignorance all of my international career for a lifetime!
@mozartsbumbumsrus7750 O there is definitely a difference between do and to if I try it anchor tonguing!
I agree that articulation should be flexible and be able to be very light and legato as well as accented as needed though I would generally keep the tongue motion the same and create different articulations through tongue timing and air support.
Perhaps we just come from different schools of playing and approach. What country are you in and where did you study/who did you study with?
@QuickStartClarinet Yes, I agree. That's the technique that I was first introduced to in my youth in Palo Alto and San Francisco. Timing and air support went/goes a long way. Of course, the embouchure should remain still and quiet in the face of the single lip method as the tendency to bite with the mandible is overwhelming temptation, especially when we demand that our tonguing speed becomes faster and faster as fast as possible in order to overcome the ignorance of certain composers. I was born in San Francisco and grew up down the peninsula, studying everywhere worldwide first studying with my uncle, Dana Morgan, Sr. Then George Kaye, then Raymond Lippert, then Frealon Bibbins (principal clarinet in San Francisco Symphony under Ozawa), then Antonio Raimondi in Los Angeles (Charter member and Principal Clarinet until Rodzinski brought his own principal with him), then Mitchell Lurie, and various lessons with others and with my colleague and great friend, Marc Lifschey (principal oboe, Cleveland under Szell), then Jack Brymer, Gervase de Peyer, Karl Leister, Jack McCaw, Yona Ettlinger, Jaques Lancelot, Rudi Stalder, Guy DePlus, Walter Boeykens, Anthony Gigliotti, Tony Pay, Thea King, Yost Michaels, Georgina Dobree, Ted Planas, et al in the clarinet community, master classes with various masters such as Yehudi Menuhin, Sandor Vegh, Manny Hurwitz, Cecil Aronovitch, Stoyer, Bunting, Peter Pears, Jesse Norman, various Singers, and working with colleagues all over the world, learning from everyone.
That is interesting because I also largely come from the lineage of Mitchell Lurie (and more so Bonade) studying with students (or students of students) of Mitchell Lurie, Robert Marcellus, and Donald Montanaro.
I know Mitchell Lurie anchor tongued, but did he also teach anchor tonguing?
I've found the modern American school of teaching to generally avoid it. Out of all of my teachers, Michael Rusinek is the only one who anchor tongues, but he didn't necessarily encourage his students to do it.
However, of course, everyone has different physiology so if it feels good and sounds good, and one can do what the repertoire asks then it is all good!
oof! Please don't encourage people to push the jaw forward - that really increases the risk of TMJ.
Ya, definitely don't over do it!