I had been thinking all the time that how do those players manage to tongue some difficult and fast running passage in a VERY fast tempo... so do they use double or single tonguing because I definitely cant tongue tht fast using single tonguing... and if with double tonguing I might need to practice the co-ordination with with my fingers... so anyone who able to play these fast passages do you use single or double tongue?

I rarely double tongue as I can't yet do it fast enough to be of any real use. I have a fast bit in Weber concertino (op 26) Variation 2 and I single tongue. Initially I thought I couldn't do it that fast but with practise I now can. All the best to you Kenny.

Edit: tip from my teacher: slur 2, tongue 2 - it helps speed up the passage and many people wouldn't actually notice so long as you keep the passage clean and precise and tongue crisply when you do.

Unless I absolutely see no other way of doing it, I single tongue everything, and occasionally use, as Dawn has already mentioned, the slur two, tongue two technique.

slur two tongue two si something I come over before but as an example like the shuberts shepard on the stone at the last part where clarinet have ridiculous running notes that need to be tongue in very fast pace and a very long phrase to go... how to go on then...

if practice, how do you all practice to let the tongue excercise then? Normally I use scales but it doesnt seems to work efficient enough.

I slow technically difficult passages right down so I know exactly what my fingers and tongue are doing, then I gradually get it quicker. There is, in my opinion, no substitute for working on difficult sections slowly.

This is exactly what I have to do too.

So true.

Always ask yourself: how many people in the audience have the faintest idea of how this is meant to sound, and how many of those will recognise notes that are slurred wrongly.

Besides, every musician has the right to some of their own interpretation of the score.

Otherwise we'd all sound like computers and they'd be no need for live concerts.


Steve

Exactly!!!

I also think that the slur 2 tongue 2 technique is useful as it helps you to speed up the fingers and get the overall passage moving quicker, then when this is secure you can tongue the individual notes. You are not having to coordinate tongue and fingers quite so much all at once.

There are also occasions even when I've got something up to speed, and can either use slur 2 tongue 2 or tonguing the lot, where I opt to slur 2 tongue 2. There are bits of Weber that come to mind here.

The concertino?? Yeah me too. Sounds better I think. Emma Johnson () does too so it must be ok. Thing is a lot of the versions around now are people's interpretation, not originals anyhow. A while back I read up on how the concertino is now played very differently to how Weber would have intended. Trills and tempo changes were added after Weber composed the piece. Articulation has been added in the same way. My copy even contains some of Reginald Kell's scribbled notes on interpretation too !!! As my teacher was passed a lot of his music after his death - some contact with an elderly lady who was a relative of his I think.


Kenny: I've not actually played the Shepherd on the Rock but have the music somewhere. I'll look up the bit you mention and give it a try

I agree, and there's bits of the 1st concerto in particular that I think benefit from the slur 2 tongue 2 technique. Did you hear some when I played on Saturday?

Maybe.... Can't say that it stood out at all....

fair enough. I did fully tongue most of the fully tongued passages...

To be honest, I'd be more likely to notice what you'd done with it if it was a piece I knew really well but I'm not so familiar with the Weber Concertos, not something i've looked at in any detail yet Hopefully one day I'll get to them..

I think you'll enjoy both of them Dawn. No. 1 in particular is very approachable and well within your range.

Thankyou. It's a case of too much music, too little time at the moment....