1. Air Stream and Support (0:20)
Without the instrument, get to know the feeling of support in the body. Use air sounds through the teeth to listen, and feel the natural response and engagement in the body.
2. Add Syllables to Your Air Sounds (1:09)
We often spend time practicing the double tonguing syllables away from the flute, however, using the through-the-teeth airstream exercise, we can multi-task. Airstream and double tonguing syllables should go hand-in-hand!
Try the exercise of going from closed teeth and air sounds to a relaxed jaw and increased space in the mouth, and consciously keep the air speed fast. (1:24)
3. Breath Accents (2:12)
Improve single tongue articulations by prioritizing air speed and quality with breath accents. Once the attack feels clean and consistent, add in the T and the K syllables on top. This especially helps us understand the feeling of air when using the more difficult back-of-the-tongue syllables.
4. Double Tonguing Syllables: T-K vs. D-G (4:16)
Rather than sticking with just one or the other, I find it useful to understand the difference between both T-K-T-K and D-G-D-G, and practice them both. T-K tends to be more staccato and pointed, while D-G tends to be more smooth and legato. Having both under your belt gives you greater options in the context of a piece!
5. High Maintenance Notes: Low and Middle Register (5:07)
The low register and right hand middle notes tend to be the most prone to cracking if space in the mouth is not abundant. When we play a resonant long tone without articulating, we may be thinking of an "aww" shape in the mouth. Utilize that same "aww" feeling while double tonguing ("daww-gaww") to help these high maintenance notes!
6. Practicing For Longer, Faster Lines (5:58)
In the exercise linked above, use a single note to build up from breath accents to a long, fast line of double-tonguing. Holding the first note (as we did in the initial breath support exercise using only air), reminds us to get the speed going, and keep it the moment the tongue first moves.
7. 3-Stage Chromatic Scale Exercise (Beginning to Add Finger Movement) (7:03)
Use the notes of the chromatic scale to begin translating the single note exercises up the range. With each repetition, begin decreasing the number of articulations per note as you begin coordinating finger movement with tongue movement.
8. Coordinating Finger and Tongue Movement (7:53)
Try saying or whispering the syllables while moving the fingers slowly and precisely to encourage better coordination. This provides a chance to isolate the tongue and fingers without producing a flute sound, so we can really focus and uncover difficulties. Even if you're relatively coordinated, I always find this exercise enhances the connection between movements!
9. The First Note Influences The Rest! (8:31)
Use an expressive tenuto to translate the resonance of the first note of a run into the double-tongued notes that follow. Begin with a held note, and practice making the first note shorter and shorter without losing the sound quality.
10. 2-Octave Major Scales: Slur and Double-Tongue Back-to-Back (9:00)
Break up your 2 octave scales into one octave at a time, first slurred with a singing quality, then translating the feeling to double-tonguing. Try 2 articulations per note, and think of a smooth, legato sound that resembles your singing slurred sound.
11. Singing and Playing (10:56)
Using the first notes of Exercise No. 1 from Taffanel and Gaubert's Daily Exercises, sing and play, slur, and double-tongue in one breath to reap the benefits of a relaxed throat and naturally supported airstream!
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