(Editor's Note. This article first appeared in the September, 1949, issue of Symphony magazine. It is written by IDRS honorary member, Frederick W. Moritz while he was principal bassoonist of the Los Angeles Philharmonic, a position he held from 1923 until his retirement a few years ago. It is reprinted, along with Mr. Moritz's biography up to 1949, because the advice contained within it on the development of usable double tonguing technique is still of great value to the contemporary player of the bassoon.)
Double tonguing on reed instruments has become a topic of major interest among reed instrumentalists in this country. However, the number of successful experts in the field is still exceedingly small; authentic information is almost non- existent, and the approach of most students remains a trial and error proposition. I am pleased to offer here some of my experience to those who may still be pondering the practicability of this relatively new and unexplored form of staccato technic.
Before going into the subject of double tonguing itself, it will be advisable to analyze briefly the technic of single tonguing in order to be able to make certain comparisons that will facilitate understanding of our main subject.
Of equal importance with the attack of a tone in either form of tonguing is the release, i.e., termination of each tone. An inadequate quality of staccato is very often due to improper release of the tone. In single tonguing each tone attack is accomplished by withdrawing the tongue from its position on the reed while simultaneously forcing a column of air through the reed opening. This operation is comparable to the pronunciation of the syllable "te" or "te." The release, that is, termination of the tone, is accomplished by simply returning the tongue gently to its former position on the reed as if to add the letter "d" to the syllable "te" as in Ted, " or, if a soft attack is contemplated, as in "dead." Thus the release not only stops the tone by interrupting the air column at the reed, but also places the tongue right back in position for the next attack.
In double tonguing one attack on the syllable "te" is alternated with one attack on the syllable "ka." The first of the two attacks (te) is produced with the forward part of the tongue exactly as in single tonguing. The second or alternate attack is sometimes called a throat attack, but it is actually produced by the rear part of the tongue which extends into the throat.
The release of the note produced by the first attack will have to be done by closing the throat with the rear part of the tongue as a preparatory measure to the throat attack which is to follow. It is like adding the letter "g" to the syllable "ta", as in "tag." The note produced by the throat attack is to have a single tongue release with the tongue resuming its original position on the reed. This system of alternating attacks, continued at will, is what has correctly been named "double tonguing" because the tongue is employed in this dual capacity. In syllables, the whole operation would perhaps be more aptly described thus: tag-kad-tag-kad. Note how each release ties into the next attack. The principle in common with both varieties of tonguing is that by terminating each note in the manner described we automatically establish a position of readiness for the attack to follow. By following this procedure correctly, all lost motion is eliminated and the student will attain his true maximum speed in either form of tonguing.
Although the above description of double tonguing applies specifically to the reed embouchure, it is the same in principle as is used on the flute and brass instruments the world over. The sole purpose of it is, of course, to attain greater rapidity and brilliance in staccato technic than is possible with single tonguing.
While this method of staccato playing comes fairly naturally on the flute and brasses, it becomes a formidable undertaking on a reed instrument. The part of the reed which is held inside of the mouth interferes with the free movement of the tongue, and this constitutes the most serious handicap in the execution of alternating attacks and releases. Another adverse factor in double tonguing on reeds is the abnormal strain it causes in the throat, particularly in the beginning. This strain may at times cause considerable discomfort and may even lead to more serious complications in the throat if practice is consistently overlong. Fortunately, however, any hazard due to this factor can easily be avoided by confining the practice of alternating attacks to one short period per day until such time when it may be extended without harm.
Quite obviously these handicaps were the principal reason why the possibilities of double tonguing were almost entirely ignored by the great majority of reed instrumentalists in the past. Thirty years ago it was still considered bad taste by many to even make attempts at it -- the general attitude then being that results would not be acceptable as good staccato playing anyhow, and those insisting on trying ran the risk of being ridiculed or suspected of trying to bluff.
Nevertheless, double tonguing has been done with varying success by some few oboists and bassoonists in the past. Before I made my own first attempts at it I had known a few reed players who were double tonguing or were in the process of studying it. To criticize the quality of performance of some of those pioneers would indeed be pointless. The real significance of the pioneering lies in the fact that some of them did overcome the handicaps sufficiently to demonstrate to others, willing to see, the feasibility of good double tonguing on reeds in good time.
It remained the task of others to continue the good work and, if possible, to establish the fact that doubling tonguing on reeds, besides producing greater speed, could also be developed to sound as good and be as reliable as single tonguing. With regard to my own participation in this experiment, suffice it to say that I have been using double tonguing consistently in all my work for approximately twenty years now, and I am happy to state that I am by no means the only specialist in this field today. In Los Angeles alone I have heard enough good double tonguing on reeds to make me believe that this technical asset is within reach of almost any aspiring reed instrumentalist willing and able to devote the time and effort required.
But in spite of all the good prospects it must be admitted that double tonguing on reed instruments still remains the same arduous task it always has been. The greater the responsibility of an artist, the more critical he is bound to be of his standard of performance. Thus, it may take a first chair soloist from three to five years before he feels sufficiently secure with his double tonguing to use it on famous solo passages in concert. It goes without saying that fairly good results may be expected on less important passages sooner. But no matter how prolonged a course of study it may turn out to be, results only, will count in the end.
The question of when a young student should take up this study is up to his teacher. In my opinion it definitely belongs in the category of well-advanced students. Too early a start or too much emphasis on double tonguing in the beginning may result in the under-development of single tonguing which would be undesirable and must be averted.
For the actual study of double tonguing on reed instruments I recommend the following course: Practice alternating attacks very slowly and with wide gaps between the notes. The duration of the pauses should equal the duration of the notes. Disregard releases for a while and simply stop blowing to end each note. Choose the easiest register on the instrument for the initial attempts and do not place the attack too far back into the throat. Continue this exercise for a few months. Then shorten the pauses by sustaining the notes longer until there are only normal separations between the notes as described in the first part of this article. This exercise of evenly sustained tones should be continued for quite some time.
After sufficient mastery of this exercise, proceed to practicing staccato notes at slow and moderately slow speeds. Particular attention must now be given to releases as prescribed -- otherwise it will not be possible to play staccato with double tonguing. The principle objective is to learn to play all notes with a uniformly good and even quality. Occasional attempts at higher speeds are in order, but should not become the habit until all vestiges of distortion and unevenness have disappeared. After this has been accomplished increase the speed gradually. Do not always practice staccato notes but also try longer values as this will simplify the problem of releasing. From then on it is simply a matter of steadily improving the standard of performance toward the highest state of perfection attainable by the individual artist.
This approach to double tonguing may be called the "slow practice method" because attacks are perfected at slow speed before higher speeds are attempted in earnest. It may not be the-only way to acquire this technic but it may yet prove to be the surest way to a well controlled double staccato on reed instruments.
I know of no short cuts to good double tonguing. However, one student's experience may differ greatly from that of another. Some will take to high speed easier than others and often long before good execution has been realized. As encouraging as this may seem, it is actually dangerous because such students may get the idea that speed is all that is wanted and may never arrive at a well controlled double staccato at speeds immediately ahead of their single tonguing limit. It is important to be able to continue with double tonguing where single tonguing leaves off, better yet, if double tonguing can be done well within the speed limits of single tonguing. It is much less desirable to have the ability to double tongue staccato passages, four notes to a beat, at a metronome speed of 160 and over than to have a solid mastery at speeds ranging from one's single staccato limits to a 160 because most requirements for double tonguing on reed instruments occur at the latter speed range. Therefore, after considering all possible contingencies, it is my belief that the surest way to really good and reliable double tonguing on reeds is by way of the "slow practice method."
The universal adoption of the art of double tonguing on reed instruments may still be a matter of conjecture, but the trail has been blazed. It has been proven possible and practical for the highest demands in professional work, symphony and solo. We may perhaps not achieve quite the speed and the facility of a master flutist, or the clarinetist perhaps may never quite perfect it in the very top register. But even with such limitations it will surely become an indispensable asset to the artist of the future.
Frederick Moritz was born in Sulzthal, near Bad Kissingen, Germany, and received his first music instruction from his father who was a band leader in Bad Kissingen. He was sent to Coburg for further study, planning to become the successor to his father's position. In Coburg he was advised against such a career, and urged to take up the study of the bassoon. At that time young Frederick regarded this as a highly undesirable course, but nevertheless followed the advice despite his reluctance toward this instrument. And since then, as Mr. Moritz puts it, the bassoon and he became good friends, and the choice of this instrument became his good fate in more ways than one.
He studied with Emil Hoffmann, at that time first bassoonist at the Coburg Opera and later at the Opera in Braunschweig. In Germany, Mr. Moritz was first bassoonist in the Dresden, Dortmund and Berlin Philharmonic Orchestras. During his four years with the Berlin Orchestra he enjoyed the great experience of playing many times under such masters of the baton as Arthur Nikisch, Weingartner, Furtwaengler, Koussevitzki, Karl Muck, and many others. Since 1923 he has been a member of the Los Angeles Philharmonic Orchestra. He has appeared many times as soloist with the Philharmonic and Hollywood Bowl Orchestras, playing the Weber, Mozart, and Sigurd Fredericksen concertos. He considers the highlight of his career to be the performance of the much-disputed Mozart "Second" Bassoon Concerto with his own cadenzas in a pair of symphony concerts with the Los Angeles Philharmonic under Wallenstein two years ago.