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RE: triple tonguing

I've been intrigued by the many varied and useful replies that have been
sent to this interesting question that Martin posed us listers. Most trumpet
players are advised to learn both the DDG and DGD methods of triple tonguing
as there are some hairy orchestral excerpts that would be a nightmare using
just the conventional method of DDG. One that springs to mind is the end of
Lalo's Le Roi D'ys, and I believe that the front row part in the brass band
arrangement isn't dissimilar!

There are other articulations that so-far haven't been mentioned. I am
informed that a certain well-known French Horn player, who's been known to
conduct the odd brass band (no more clues!) actually uses a double tongue to
perform a triple tongue articulation! In other words, he uses DGD GDG DGD
GDG etc... the awkward bit is to accentuate every other G! Apparently he
just never got the hang of DDG so tried his own method....if ever you've
heard him play you'll know that it works!
	I'm a fan of the "the" articulation for when you need to play in a more
legato style. It also works very well in jazz, and is the basis of "doodle"
tonguing which is often used by jazz trumpet, trombone and sax players.
A "the-the-g" triple tongue can change a "Hailstorm" into "Showers of Gold"
(I know, pitiful gag, but I couldn't resist it!)

	As Alan Morrison pointed out, the triple-tongued variation in "The Amazing
Mr Arban" is easier to play with a DGD articulation, which seems a bit
strange as there's no reference (to my knowledge!) to the DGD articulation
in the Grande Methode, and that variation is one of his exercises! Another
example of this leaping about occurs in the first variation of Hartmann's
"Rule Britannia" which I personally play using DDG, but I did try it both
ways before I worked out what suits me best.
	I think that's the point, Martin. Choose which method is best for the piece
that you are playing. You will probably adopt DDG as your principal triple
tongue method, but try and adopt any other approaches that have been
mentioned to you in this, and other e-mails. It'll hurt at first but you'll
get through it, as I'm sure you discovered when you first learnt to double
tongue.

This all said, however, don't underestimate the importance of a quick single
tongue. How often do you hear people whinge in band about parts being "too
slow to double tongue, but too quick to single"? I hear it all the time. I
find it frustrating when people rely on multiple tonguing too much. A lot of
brass band music is quite quick, say, between 120 - 140 crotchets a minute
and if you can't double tongue less than 160, yet you're single tongue is
slow. you've got problems! When I was at College I could single tongue
semiquavers at 172 crotchets per minute, and a couple of my colleagues were
quicker than that! It has slowed a little bit since then I admit...
I have always found that a good quick single tongue is great for sight
reading in band. If multiple tonguing a phrase tidies it up later, fair
enough, but by removing the complexities of multiple tonguing on an initial
sight-read, you will find that all of your concentration is focused on
getting the valves down in the right order and at the right time, trust me
it works!

Sorry about the long message, but hope some of it helps!

Cheers all,

Steve Bailey
Principal Cornet
Sovereign "We came 15th but never mind" Brass!

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