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Double Tonguing
Lisa Blackmore, Lindenwood University
Okay, here's the scenario. You've survived another marching season and feel confident about your powerful
playing. So the first day of concert band your director puts "Barnum and Bailey's Favorites" on your music stand
and announces that you will be performing it at quarter note equals 180 in four weeks. After a "panic attack"
you realize that you need a "crash course" in double tonguing. Of course there are no "miracle" exercises and
you can not learn to double tongue overnight. But with a little concentrated practice each day you will be
impressing your friends and family with your ability to double tongue in no time.
It's impossible to develop good double tonguing skills without first stabilizing regular single tonguing. The
following simple exercises will improve one's single tongue accuracy and speed as well as developing double
tonguing.
Dah-gah versus Tah-kah: The syllables used in double tonguing are dah-gah and tah-kah. Most students
prefer dah-gah, since it is smoother, less "explosive" and easier to keep the air flowing than with tah-kah. Tahkah can be used for a more accented style when needed. Start with dah-gah but experiment with tah-kah if
you like.
Preliminary exercises: Since the "gah" syllable is new, it is important to become comfortable with
pronouncing it. Exercises away from the trumpet can be helpful:
Loudly whisper "gaa" over and over noticing where your tongue touches. Try to bring the point of
contact with the roof of your mouth as far forward as possible. Try to use the same amount of air as
when you are playing your trumpet.
Whisper "gaa" into the mouthpiece while forming a trumpet embouchure and using lots of air. Eventually
let the lips come together and buzz a pitch. Do not worry about tone quality at first. This may take
several attempts before you are comfortable buzzing and using the "gah" syllable at the same time.
Say "I dug-a-hole" quickly several times. Then extend to "I dug-a-dug-a-hole," and "I dug-a-dug-adug-a-hole". Practice many times to improve speed.
Exercise No. 1 (Gah syllable) Play slowly on mouthpiece and trumpet until comfortable. Connect the syllables
but make each attack crisp and clean.

Exercise No. 2 The goal is to make the "gahs" equal to the "dahs". Try to keep the pitch exactly the same
throughout the exercise.

Exercise No. 3 (slow double tongue) Again, make all attacks as even as possible. Accuracy over speed!

Exercise No. 4 Gradually increase the speed and go as fast as you can. This may be the only time you will
ever hear a teacher say this! In order to reach a tempo that is useful, you must constantly try to move
forward. Practice this exercise at least several weeks.

It is crucial to practice the following exercises with a metronome.

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ITG Youth Site - Masterclass

05/11/09 17:52

Inexpensive metronomes can be purchased for about twenty dollars. Progress charts are indicated to help chart
your progress. (Cross out tempo marks as you reach them.) These are merely suggested ranges of tempo
marks. It's okay if you need to start slower than indicated or move in smaller steps! Observe all repeats.
Exercise No. 5 Notice the syllables used. It will not be possible to maintain fast speeds in the first ("dahs"
only) or second ("gahs") groups, because you are not using both syllables.
Progress chart: 105 110 115 120 125 130 135 140 145 150

Exercise No. 6 This exercise will help your double tongue endurance and increase the number of notes you can
double tongue without getting "tongue tied". This is particularly useful in the many cornet solos in our
literature.
Progress chart: 120 125 130 135 140 145 150 155 160 165 170 175 180 185 190

Exercise No. 7 (1x single tongue, 2x double tongue) Above 140 double tongue only, but still take the repeat.
Now we move beyond double tonguing on a single note and must coordinate valve changes and the tongue.
Progress chart: 110 115 120 125 130 135 140 145 150 155 160 165 170 175 180

After becoming familiar with the preceding exercises, practice all major and minor scales double tongued with
four notes per pitch, two notes per pitch, and then one note per pitch. Many trumpet books contain exercises
and etudes for double tonguing. Two trumpet books that should be familiar to high school trumpet players are
the Arban's Complete Conservatory Method and Herbert L. Clarke's Technical Studies. The Arban's Method
includes an entire section on double tonguing and most of the Clarke book can be practiced using double
tonguing. Triple tonguing is really just a variation of double tonguing. However, space does not allow for
discussion now and triple tonguing may be addressed in a separate Masterclass Column at a future date.
With a little careful practice every day including the simple exercises presented here, you will be double
tonguing confidently in a short amount of time. SO GET TO WORK!

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