Tip-Tonguing and Dorsal-Tonguing: Establishment of Definitions
“Tip-tonguing” is the type of articulation that is made by the tip of the tongue releasing from a point on the roof of the mouth or upper teeth that creates an articulation.1 It is similar to saying the syllables “Ta” or “Tee.” “Dorsal-tonguing,” on the other hand, is done with the “tip of the tongue lightly pressed against the back of the lower, front teeth and articulating with the dorsum 2
(middle) of the tongue.” Sometimes, this type of articulation articulation is referred to as “anchor-tonguing,” although many advocates of this approach do not approve of the term, as it implies that the tongue is firm or tensed instead of relaxed at the back of the lower teeth. Over the course of this paper, the opinions of many man y of the best known k nown trumpet teachers teac hers are discussed. Reasons Re asons for preferring one method of articulation over the other are also discussed. Tip-Tonguing vs. Dorsal Tonguing
Standard trumpet pedagogy typically recognizes and discusses only the tip-tonguing method with beginning students. Many band directors and brass teachers are unaware of the dichotomy of articulation types, which in turn leads to a general lack of knowledge among trumpet students about this particular issue. While tip-tonguing is perhaps the most common method of articulating, it does not work well for everyone. There are many well known performers who have been known to dorsal-tongue, including Raymond Mase (American Brass Quintet), Armando Ghitalla (Boston Symphony), Jens Lindemann (Canadian Brass, soloist), Timothy Morrison (Boston Symphony), Manuel Laureano (Minnesota Orchestra), Peter Bond (Metropolitan Opera), Charles Schlueter (Boston Symphony), Robert Sullivan (Northwestern University), Herbert L. Clarke (Sousa Band, cornet
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David R. Hickman. Trumpet Pedagogy: A Compendium of Modern Teaching Techniques. Techniques. Chandler, AZ: Hickman Music Editions, 2006, 134. 2 Ibid., 29.
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soloist), Jules Levy (cornet soloist), and Rolf Smedvig (Empire Brass) . In addition, many lead trumpet players use dorsal-tonguing because the front of the tongue is generally used as an upper-register aid when pressed against the lower front teeth. Anatomical Predisposition for a Tonguing Type
There are anatomical considerations when discussing the two major articulation types. The bit of tissue (a frenulum, pictured below in Figure 1.4) connecting the bottom of the tongue to the floor of the mouth is sometime too short and restrictive from birth, a condition known as ankyloglossia. ankyloglossia. This condition is not uncommon, as between 0.2% and 2% of infants are born this 5
way. If a physician decides that it is worth correcting, a frenulectomy a frenulectomy may be performed within 6
a short period of time time after birth. The degree of motion granted by the length of the frenulum 7
certainly affects how a performer naturally articulates when learning to play the trumpet.
Figure 1
3
Ibid., 137. WebMD. “Lingual Frenulum.” WebMD. WebMD. Accessed March 10, 2014. http://www.webmd.com/children/lingual-frenulum. 5 Anne Smith. "Tongue-Tie." StorkNet . Accessed October 10, 2013. http://www.storknet.com/cubbies/breast/AS-tonguetied.htm. 6 Jeffrey Hull. "Tongue Tie." Dr Tie." Dr . Hull . Accessed October 10, 2013. http://www.drhull.com/EncyMaster/T/tongue_tie.html. 7 Hickman, Ibid., 135. 4
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In his Music his Music Educators Journal J ournal article from 2010, Jason Dovel (Professor of Trumpet at the University of Kentucky) comments that “trumpeters [with tongue tie] may be unable to bring the tongue to the intersection of the upper front teeth (incisors) (incisors) and the hard palate.”8 Regarding solutions to this issue, Dovel states: [...] Trumpet players commonly lower their jaw when producing pitches in the lower register. Because they generally tongue at the intersection of the top teeth and the hard palate, trumpet players with tongue-tie will likely have h ave a great deal of difficulty raising the tongue from this lowered jaw position to the roof of the mouth. Such an individual has a variety of options for coping with tongue-tie, including raising the jaw during articulation or tonguing in a nontraditional location. [...] Dorsal tonguing, mentioned earlier, is one example of an alternate tongue placement for students with ankyloglossia.9 Dovel later goes on to elaborate on how to teach articulation to students adapting to tongue-tie: Many studies have documented the effects of ankyloglossia on speech, and one practical way of addressing the tongue’s limited mobility is through attention to the student’s speech. For example, instead of providing elaborate instructions on the placement of the tongue within the mouth, a teacher can focus on the syllables involved in the conceptual aspect of articul articulation. ation.10 Although this anatomical distinction gives an interesting insight into how people may naturally teach themselves the dorsal-tonguing method of articulation, it does not account for all advocates of this method. Many trumpet players naturally use tip-tonguing in the middle and low registers, while utilizing dorsal-tonguing for high register articulation. Players that use this combination of methods claim that tip-tonguing allows them the clear articulation they like in the low to middle registers, while dorsal tonguing allows them to maintain the high tongue arch necessary for extended high register playing. Many players also choose to use dorsal-tonguing, even when the frenulum is not restricting the tongue’s range of motion. This choice can sometimes be very
8
Jason Dovel, “Teaching Tongue-Tied Students.” Music Students.” Music Educators Journal 96, 96, no. 4. 2010, 49. Ibid., 50. 10 Ibid.
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beneficial, and other times disastrous, depending on the particular case. ca se. It is generally accepted that embouchure and technique adjustments are best made under the close supervision of a qualified private instructor. Jean-Baptist Arban
French cornetist of worldwide fame, Jean-Baptist Arban (1825-1889), had this to say in reference to tonguing: This should be kept in mind before placing the mouthpiece on the lips; the tongue ought to be placed against the teeth of the upper jaw in such a way that the mouth is hermetically sealed. As the tongue recedes, the column of air which was pressing against 12 it is pushed violently into the mouthpiece causing the sound. sound. At first glance, this information does not seem to give any insight as to which type of tonguing Arban advocated. Upon a closer look; however, one can see that he refers to the tongue “receding” away from the teeth of the upper jaw, which may imply that he is indeed referring to tip-tonguing. His use of the “tu-ku” consonant-vowel combination to explain double-tonguing 13
may also potentially indicate his advocation and usage of tip-tonguing. Claude Gordon: “K-Modified” Tonguing
Not everyone agrees with the previously mentioned interpretation of Arban’s method. method . The editor of a popular Arban book edition, Claude Gordon (1916-1996) inserts in footnotes many corrections and explanations of what he believes Arban originally meant. These interpretations are based on his long-time status as Clarke’s student and protégé. When discussing the tongue as one of his seven basic items of playing, Gordon goes into finer detail about the concept of what he considers to be “correct” tonguing. This involves the tip of the tongue lightly touching the
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David R. Hickman. In-Person Interview by Jonathan Kaplan. Tempe, AZ, October 18, 2013. Jean-Baptist Arban. Arban's Arban. Arban's Complete Conservatory Method for Trumpet . New York: Carl Fischer, 1982, 7. 13 Ibid., 153. 12
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lower teeth, and using the area of the surface behind the tip to articulate (like the “k” syllable, but more forward on the tongue, hence the term “k-modified”).14 Explained by long-time Gordon Gordon pupil, Jeff Purtle: Claude referred to this as “K-Tongue Modified” or “KTM” because it is similar to K tonguing, but more forward on the tongue. Tonguing any other way (i.e. tip going up to top teeth) will result in a disruption of the arch of the tongue in the front of the mouth and more movement of the tongue. Understanding this will help to answer how you can play perfectly accurate in the extreme high register, without cracked notes, and how to single 15 tongue faster. faster. This tonguing concept is seen as very accessible because it is explained as not being very different from typical articulation, with only slight adjustments. Herbert L. Clarke
Advocates for the dorsal-tonguing method often refer to the texts of Herbert L. Clarke (1867-1945), where he describes his tonguing method: My own method of tonguing is rather unique. [...] My tongue is never rigid when playing, and rests at the bottom of my mouth, the end pressed slightly against the lower teeth. I then produce the staccato, by the center of the tongue striking against the roof of the mouth. This I have practiced so as to acquire a rapid single tonguing without fatigue, nor causing a clumsy tone, and when under full control, Double and Triple Tonguing become 16 a simple matter by diligent diligent practice, keeping the mind upon each articulation. Clarke goes on to say: In my Elementary my Elementary Studies, Studies, First Series, I state that there is no set rule for cornet playing, except by playing naturally; consequently there is no set rule for tonguing. Each player must discover the most natural and easiest way for himself. There is any amount of 17 experimenting necessary, before one really feels the proper way.
Jerome Callet: Superchops
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Jeff Purtle. "Claude Gordon's Approach." ITG Approach." ITG Youth, Youth , accessed October 13, 2013. http://itgyouth.trumpetguild.org/masterclass/31-claude-gordons-approach. 15 Ibid. 16 Herbert L. Clarke. Clarke Studies. Studies. Chandler, AZ: Hickman Music Editions, 2005, 118. 17 Clarke, Clarke Studies, Studies, 119.
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An unusual method of tonguing is one by pedagogue and performer Jerome Callet. In his method book, Master book, Master Superchops Supe rchops,, he presents a distinct variation on tip-tonguing, where the tip touches the top lip during all articulations. Callet states: Air flow should always be stopped by the tongue. The tongue-stop serves two equally important functions. First, it sets up the air for each articulation and second, it stops the air at the end of each tone. The second step correctly sets up the tongue for the next articulation. This technique is essential for rapid, precise, in-tune articulation. If you let the tongue come back after every articulation you let too much air into the mouthpiece 18 cup and the tone goes flat after after every attack. attack. Some of Callet’s most famous students are James T. Decker, Csaba Kelemen, Herbert T. Smith, Oliver A. Theurillat, Theurillat, Pierre Thibaud, Keith Underwood, and John R. Ware.19 Other methods by Callet include Trumpet Yoga, Yoga, Brass Power and Endurance, Endurance, and Trumpet Secrets: The Secrets of the Tongue-Controlled Embouchure. Embouchure. 20 Other teachers that advocate tip-tonguing 21
on the top lip include Edna White, White, Jeff Smiley, and E.C. Moore. Conclusion
An understanding of the two major tonguing styles, tip-tonguing and dorsal-tonguing, is essential for any band director or brass pedagogue. Anatomical characteristics need to be considered when working with students, most importantly the length of the lingual frenulum. Expert opinions vary widely on this subject, and neither type can be considered better or worse in the usual sense. Each type has its benefits, but certainly nothing definitive enough to make any one type best for all performers.
18
Jerome Callet. "Master Superchops Embouchure." Master Embouchure." Master Superchops, Superchops, accessed October 12, 2013. http://www.super-chops.com/pages/embrouchure.html. 19 David R. Hickman, Michel Laplace, and Edward H. Tarr. Trumpet Greats: A Biographical Dictionary. Dictionary. Chandler, AZ: Hickman Music Editions, 2013, 133. 20 Ibid. 21 Hickman, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques, Techniques, 140.
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Bibliography Arban, Jean-Baptist. Arban's Jean-Baptist. Arban's Complete Conservatory Method for Trumpet . New York: Carl Fischer, 1982. Callet, Jerome. “Master Superchops Embouchure.” Master Embouchure.” Master Superchops. Supe rchops. Accessed on October 12, 2013. http://www.super-chops.com/pages/embrouchure.html. Clarke, Herbert L. Clarke Studies. Studies. Chandler, AZ: Hickman Music Editions, 2005. Dovel, Jason. "Teaching Tongue-Tied Students: Ankyloglossia in the Instrumental Classroom." Music Educators Journal 96, 96, no. 4. 2010: 49-52. Gordon, Claude. Systematic Approach to Daily Practice. Practice. New York: Carl Fischer, 1965. Hickman, David. In-Person Interview by Jonathan Kaplan. October 17, 2013. Hickman, David R., Michel Laplace, and Edward H. Tarr. Trumpet Greats: A Biographical Dictionary. Dictionary. Chandler, AZ: Hickman Music Editions, 2013. Hickman, David. Trumpet Pedagogy: A Compendium of Modern Teaching Techniques. Techniques. Chandler, AZ: Hickman Music Editions, 2006. Hull, Jeffrey. "Tongue Tie." Dr. Tie." Dr. Hull . Accessed October 10, 2013. http://www.drhull.com/EncyMaster/T/tongue_tie.html. Purtle, Jeff. "Claude Gordon's Approach." ITG Approach." ITG Youth Yo uth.. Accessed October 13, 2013. http://itgyouth.trumpetguild.org/masterclass/31-claude-gordons-approach. Smith, Anne. "Tongue-Tie." StorkNet . Accessed October 10, 2013. http://www.storknet.com/cubbies/breast/AS-tonguetied.htm. WebMD. "Lingual Frenulum." WebMD. WebMD. Accessed March 10, 2014. http://www.webmd.com/children/lingual-frenulum.
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