I've been known to quote this one. Depending on how I feel, and the tempo, I'll either double tongue (dah-gah-dah) or doodle tongue (tah-la-tah). NOT with the throat.Randy Hunter said:A good friend and musical cohort once convinced me that Charlie Parker utilized this technique in a form of triple-tongue when he would lay out three repeated sixteenth notes of the same pitch before venturing on one of those incredible blues lines he often mingled with the bop. I thought my buddy was out of his mind until I heard him replicate the technique. The triple-tongue was created using the syllables ha-ka-ta (the first being a diaphragm attack). If you have an Omni Book turn to K.C. Blues, line 3, measure 3 for a typical situation.
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Practicing, yes.A.Smith said:Diaphragm tonguing can be beneficial to improving the attack of your note. In particular through providing greater air support for the tongue. By diaphragm tongue I don't mean using your throat! I mean creating the emission from the diaphragm. Jean-Marie Londiex and Marie-Bernadette Charrier are very big on practicing this. MBC was screaming at my quartet during a lesson "No tongue, no tongue" so as to use the air for the creation of the note, and the tongue for clarity.
It's a very useful technique in performance when starting notes very quietly or aiming for a very light attack. My clarinet teacher and both of my major saxophone teachers advocated using this when appropriate (and when you've practiced it enough for it to be effective.)hakukani said:Practicing, yes.