Ok. So I have my first high school audition coming up in about 10-15 days. But I have problems with the playing :\. I've tried to teach myself double tonguing, but it hasn't worked. :heh: I am starting to see that when the music is getting more difficult, fast tonguing is starting to become a necessity. (Google "Mozart Clarinet Concerto K. 622 in A" if you need to).

Tips on double tonguing (on clarinet; if you don't know)? I've heard the "tuttle" pattern and stuff, but it doesn't help. I would ask my band director, but the thoughts on double tonguing around here is that it's "too much like flutter tonguing, and only fast single tonguing should be thought on :bleh: ".

This is a VERY hard piece for someone at my level (well, I have been playing for 4 years and have the level of a 7 year player); it's a concerto that is sometimes feared by clarinet players :P .

Give any tips... please (specifically double tonguing; it's hard to do this on a single reed).

Number 1 rule of all time: air works for all problem. Take in LOADS of air. It makes your tonguing problem go away. And double tonguing, triple tonguing and fluttertonguing are actually easier on single reeds, mind you. It's not possible to fluttertongue on double reeds and requires a lot of precision to double tongue. Use the "teh-keh-teh-keh" pattern for double tonguing; it works. If not, then fake it. How do you fake it? Modify the music a little.

And double tonguing, triple tonguing and fluttertonguing are actually easier on single reeds, mind you.

Sorry :\ . I was comparing to, let's say, a flute (there are no double reed players in my band :heh: ). Thanks for the tips :).

Hello clarinetist...some of the advice you have already received is good, some-not so! Double tonguing truly is hard on a single reed, but can be done. It is actually much easier on a double reed. It's easier still on flute, trumpet etc. where there is nothing actually in the mouth. I can single tongue all my instruments (I have Licentiates on recorder flute bassoon sax and clarinet) to about crotchet =112 (sixteenth notes). At this point I switch over to double tongue on flute or bassoon up to about 160. If I do it on clarinet, the pitch drops...tone quality also becomes coarse. Same with flutter tongue on bassoon. For short bursts I have sometimes actually lipped the flat note further down, and fingered a semi-tone up to balance. Since these effects are usually only in contemporary pieces, one may get away with it. For the Mozart clarinet concerto, no way. Lots of slur two, tongue two to relieve the tongue tension. Most top clarinetists have naturally fast tongue speeds aided by superb instrument maintenance for rapid response, a mouthpiece which is only moderately open at the tip and cultivate a tongue action which is minimal, never heavy. Choose a modest tempo, and emphasise the lyrical qualities of the music to avoid the "technical showcase" aspect. With best wishes for your audition-Paul (www.removed.au)

It is actually much easier on a double reed.

Try double tonguing on the oboe. Since the size of reed is so much smaller than the clarinet reed, it requires way more precision and control than clarinet. Not to mention that you need to control your airstream through the instrument as you double tongue.

:) Thanks for the help. The audition is on Monday. :P Too bad I'm the only one playing this piece. It makes it too easy; the others [clarinet players] are playing etudes/exercises (relatively very simple ones).

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I don't get it; when I first played oboe, it was so hard for me to even START tonguing :P . So I had to control my air to make it sound like slurring when noted (or, basically "throat tonguing").

I don't get it; when I first played oboe, it was so hard for me to even START tonguing :P . So I had to control my air to make it sound like slurring when noted (or, basically "throat tonguing").

You need an exact embouchure in order to work your tongue, but since you started oboe as a band instrument, I assume your teacher didn't help you on any of that.

Skip this top part if you only want to know how I did on the concerto :P .

:yawn: Finally had the audition done. Too bad my spit tone was heard a lot when I was playing this :heh: . Then some tough scales that had to be played out of nowhere (Concert Bb Major, G Minor, G Major, E Minor, E Major). Or if you know how to tranpose to Bb Clarinet, the Key Signatures are C Major, A minor, A Major, F# Major, F# Minor :bleh: . Then we had to play a song as correct as possible, when we only had one minute to look at the piece (I did considerably well~ in terms of me only playing for 4 years).

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Issues:

~Spit Tone. A big one at that :\ .
~Missed notes. Due to nervousness :\ .

Otherwise, he said I did very well, considering I've only been playing for 4 years, and have never had private lessons :) . My finger technique to him, was very well :) ... he told me to get lessons (which I cannot afford at the time) :bleh: .

So... yeah. :P It's hard to play a college-leveled piece when you have only been playing for 4 years, and have no private lessons :\.

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Anyone know if the double-lip embouchure helps with the tone? (I have got to play more with single-lip :bleh: ).

*How does the Mozart Clarinet Concerto compare to Junior High school material?