I heard a story that Steve Kellner (former principal euph in the marine band) got frustrated with how bad his K tongue sounded, so he played everyone using only the K tongue for an entire summer.
I read a long time ago about flute players using a "nga" syllable in place of the k tongue. Obviously it's the same place of articulation, but have you ever experimented with this on brass?
Not familiar with "nga" but we did discuss baroque flute and recorded articulations in Part 2 of the series and the comments. Anything "n" is unlikely to work well with brass which needs an open oral cavity to get a good sound.
I heard a story that Steve Kellner (former principal euph in the marine band) got frustrated with how bad his K tongue sounded, so he played everyone using only the K tongue for an entire summer.
I read a long time ago about flute players using a "nga" syllable in place of the k tongue. Obviously it's the same place of articulation, but have you ever experimented with this on brass?
Not familiar with "nga" but we did discuss baroque flute and recorded articulations in Part 2 of the series and the comments. Anything "n" is unlikely to work well with brass which needs an open oral cavity to get a good sound.
Sometimes I work on ka-ta-ka-ta instead of ta-ka-ta-ka. Occasionally I do it in performance. It even seems to affect the content of my ideas somehow.
These are great ideas, I'm going to pull Arban out again.
oh yes. that's coming. This is just for the beginners!
Great stuff! I’ve been shedding out of the McChesney book lately, but using double instead of doodle. Works well.
I have some ideas (coming in part 4) about ways to integrate jazz practice into tonguing that don't involve playing "etudes".