The K was my issue and the G gah sound helped me relax. It is arguable that the G and K are in the same place as well. I felt the G lowered my tongue and relaxed my approach allowing me better results. Just my experience and not an absolute. Jon
Very good advice! My teacher and I tend to work more on orchestral work and classical solos, and don't get a lot to double tonguing. We've talked about it, but i tried learning it before we really got in depth! I've heard this strategy before, but now I really need to lay it down and get the double-tonguing down, 'bout time!
+James Ellis Slow and clean at first then increase speed incrementally. Remember a clean controlled musical performance that is under marked or commonly played speed is far better than a frantic mess of notes. Best, Jon
Rufftips"Concert Etude is going very well. I learned how to double tounge last year in my sophomore year and my private instructor taught me to say it like you were saying "Ticket". Ex: Ti-ki-ti-ki-ta.
Kendamazzz, It does not mater where you start it’s where you end up! Good for you for being honest this is a very mature step. Now that you have identified a weakness you can work on it. Take your time and do it right. If you do it right you won’t have to relearn it later. Good for you… do not get frustrated simply keep at it and it will get better. Jon
Excellent Method.. I've been teaching Tu Ku but listening to you I have been doing Day Gay.. Great What knucklehead gave you any thumbs down I don't know... This was Great Professional Sharing! (Trumpet play since 1963)
How about triple tounging? Can you make a video on triple tounging? I already know how to do it, but maybe you could do a video to help others with it.
And i have to perform this in two weeks as of today. And when i say all grades i meant 6th 7th and 8th. Im in 7th but the 8th grade have an embarrassing trumpet section in both bands so yeah...
See now im in a bit of a problem... Im the top trumpet player in my school (all grades) and i just got a solo that im going to preform... Now the problem is that it has sixteen notes at 120 BPM and i have no previous knowledge of double tonguing so is there a quicker way to learn this? Also i have to say you are an amazing trumpet player and i do a lot of studying about the trumpet and ways to play it. You are awesome dude!
+Deoxins unfortunatley I did not see this untiltoday. I do not know of a quick way of learning to double or triple tongue. If you practice with only the ku or gay syllable it will help that feel more comfortable. Once you have the attack sounding the same as the tu they attack then practice they gay or tu ku and you consistency will be better and you will be able to speed things up without tripping over the tongue motion. Best, Jon
@@MrCurlyKingx yea I'm in 8th grade and I heard double tounging in the previous high school shows. So I'mma try to learn this now instead of waiting to the last minute at band camp when my chops are fucked
Thank you so much, very helpful lesson! I had troubling with double-tonguing using the "tah-kah" syllable and this is helping me a lot. I needed this a lot as at our school, we're doing "Festive Overture" and "The Circus Bee", which has some isolated trumpet parts. I can do it, as of now, at 118, any advice to get me up to a tempo such as 150?
Danny Nguyen Start slow get it to happen clean and speed up the metronome a little faster make it clean a little faster make it clean you have to start slow and then slowly speed up
Thanks for the video. My question: If I have a passage in a song in concert band that isn't necessarily fast, would it help to also practice double those kinda passages as well?
To learn the motion and make it smooth you need to slow down and relax. 60 beats per minute is as fast as you should start, might even go a bit slower. You should also practice the K or Gay syllable by itself. This will help you get the motion more comfortable and natural feeling. Once you are comfortable at 60 beats per minute then go to 64. Then slowly and I mean slowly increase tempo when you are comfortable with each new faster tempo. You will finally get there and it will be solid. Best, Jon
Well I never practice multiple tongue exercises on my mouthpiece. My guess is that the lack of back pressure with the mouthpiece alone makes it more difficult to execute this type of exercise. Best, Jon
Roy Breiling You can even use the and guh. It’s more about tongue placement that it is the syllables themselves they are simply a vehicle to try and describe a position. Ta and ka area different position. I would highly recommend whispering the syllables more than pronouncing them. If you whisper the two different syllable approaches you should feel a completely different motion in the tongue
Sorry if this a weird question but does tongue size affect how fast someone can tongue on trumpet? I've practiced for many hours and with a mouthpiece it is very difficult but without a mouthpiece I'm able to tongue very quickly. My band director said some people just can't so I hope I'm not one of those people.
Yief I think it is possible that size can make it a bit more difficult. The thing to do is start slow and get the K or koo or gay sound to be the same as the tu or du. Just K tongue to get this action comfortable. Then had the tu or du and go slow. Speed will come with good form.
Hello! I have a question. How do you tongue using the second syllable? Obviously it’s easy to tongue using the first, but what I can’t seem to grasp is tonguing with the second syllable. Are you still using the front of your tongue? Asking for some help
emotional It is a guh sound in speech. Literally say, “they gay” over and over. Feel what the back of your tongue is doing in the back of your mouth on the gay syllable. Then isolate that syllable by saying guh over and over. The action of the guh or gay syllable momentarily stops the air. The release of the air is what creates the attack. The traditional syllables to double or triple tongue are T and K or Ta and Ka. You need to find syllables that work for you. The secret is to vocalize the syllables and then figure out how to put them into practice when playing one note like a G in the staff. Alternate syllables on quarter notes. They in front, Gay for the syllable in the back of the mouth. Keep your air support constant interrupting it with your tongue in both positions. We have to start this process very slow and very deliberate.
Should tonguing exercises be done after a music exercise when the tongue is already fatigued a little bit making it work extra harder ? If I practice my tonguing first maybe my music won’t be as crisp because the tonguing exercise impact playing music. ..just a thought, I always yield to you wisdom and playing experience. ( side note I’ve been practicing my general tonguing in low #f position just to adding resistance like you’d do at the gym, you’re thoughts on this ?)
Paul Dance It is difficult to prescribe any type of practice program through conversations such as this. There are too many factors involved and too many unknown variables that would have to be discovered to be able to truly give advice how to do any particular process. That being said I think that tonguing exercises are important and should be explored. I also think that Music is the focus and should always be put first, or at least be in the forefront of our approach. I think that everything can be accomplished as long as you rest in between exercises. Also it is important to not try to do too much in one sitting or one practice session. Just like we should never over eat we should never over practice. The best process is to engage in several practice sessions throughout the day. This may be difficult to achieve so we must then realize we should look at our practice as something that is done over a week not something that is limited to each day. So an answer maybe to practice music one day and then exercises the next. Realize that defining what you do throughout an entire week might help you organize what you are trying to accomplish. I think most trumpet players are thinking on a daily basis instead of a weekly basis. If you think about what you are trying to accomplish you can develop a plan that allows you to utilize an entire week. You may find that it is easier to organize your practice on a weekly basis. I hope this helps best, Jon
Rufftips well said, new players try to accomplish too much too fast instead of allowing things to organically evolve over a period of time...to your advice I’ll practice technical things one session and music as a separate event, allowing plenty of rest between.Thanks for your wisdom and your willingness to respond.
Doflamingo xxx key gee... say key gey and keep the tongue in the exact same spot to say gey as key. It’s about where the tongue is not necessarily the sound of the syllable. The concept is to to soften the tu ku or ta ka and change tongue position slightly to help make the action smoother. It is a softer attack. If you say they get, they get over and over and then speed it up until it turns into they gay or duh guh, then remove the voice and continue the tongue motion this should give you the concept.
I have never had my face get soar only when playing the scales and now it doesn’t get soar at all I have great range and correct posture but my mouth never gets soar why?
I understand the ta part but the second part wether it be ‘ku’ ‘gay’ ‘diga’ I don’t understand how to play a clear note with the second part of the tongue
Beatmydog likewiz Without seeing what’s happening my guess is you’re actually moving your jaw to some degree. The idea is to only move the tongue and separate that motion from everything else. Slow everything down take it very slow to see if you can figure out why there’s extra motion. Try to illuminate any emotion other than what the tongue is doing
My problem is the way one has to move your lips to pronounce a "k" type sound, to double tongue, and then try to blow a note on the trumpet. In your video, you make the "k" syllable by moving your mouth excessively( Ta-Ka). How can you then blow a note? You seem to overcome this by using "dey- gay" if I hear you correctly. Your comments on my basic question will be appreciated.
I have a question, so when you are saying the syllables are you supposed to actually say them because when I play and so it the second note sounds terrible. is it part of the process or am I doing something incorrect
I know you probably won't see this, but it's part of the process because you want to make both syllables sound the same when articulating them on the trumpet.
so im wanting to march in dci, and for doing this, double tonguing is a requirement and this leads me to this: is there a specific exercise for learning how to double tongue while marching or does it not matter
steverman Double tonguing is all about the syllables you use or the ones that work for you. To figure out what coordination might feel like you can easily walk and say the syllables tu ku
Hello I know this vid is from a while ago so you probs won’t reply but anyway I’m trying to double tongue and I can do thegay and tiki nice and fast aloud however when buzzing or when I have my mouthpiece to my lips I cannot make the sound through the mouthpiece thanks
Alexander Clay I would start the motion very slowly. The secret is being able to keep the air going in a constant stream and allowing the tongue positions both the Ta and the Ka or They and the Gay to briefly stop the air and then release it for the attack. When we say that we’re tonguing what we’re really doing is were stopping the airflow for just a second and then releasing it. The release is the explosion that creates the attack. When you say the word tough Field where your tongue is and what happens as soon as you start to say the word releasing the T sound. This is how we talk or create an articulation. So the same thing cast to happen on the ka or gay. Say the word game and pay attention to where your tongue is. As you begin to say the word your tongue releases the air and the word forms. It is the moment of release of the air that you have to concentrate while saying the word they or gay. It is not simply the tongue motion itself that creates the attack it is the fact that it is stopping the air just like it does when we are speaking. Some words are formed by having the lips close and reopen some are formed by the time you’re stopping the air. This is why syllables are important for understanding what our tongue is doing but what is not talked about is how we use the air behind the tongue. Once again your hair Hass to always be attempting to leave your body and interrupted by your tongue. Hope this helps. Best, Jon
Hi, So I am trying to double tongue but am confused on if there is a difference as to where the front of the tongue hits between the tu and ku. I know that there is a difference between where the back of the tongue is but I don't know where to put the front of my tongue for the 'ku' or 'gay' syllable. Any help is appreciated.
Chas Chappell The position of the front of the tongue on the ku syllable is slightly back away from the front teeth. It is in a relatively similar position as when you are playing a whole note. In other words when you use a normal tu attack the tongue goes in the attack position and then returns to a neutral position that allows air to flow to the lips. When in this position the back of the tongue now can move to create the ku or gu attack. Basically think of it as front back, front back. Say tu ku, tu ku, tu ku, to ku. Pay attention to when your tongue is doing when you use those syllables. Hope this helps Best, Jon
Hi, i have a problem with double tounging, i see all these videos and i dont think anyone else has this problem. But, everytime i tounge with the back of my tounge with the "Ka" or "gay", alittle air builds up in my mouth, and it prevents me from tounging efficiently/producing good notes. Will this go away with practice? How can i prevent this? am i doing something wrong? please help me ):
Jessica It is the concept of where your tongue rests. Ta and Ka or Tu-Ku work well with a higher tongue tip position on the top front teeth. They-Gay or Day-Gay works well for a lower tongue tip position low on the top front teeth or at the top of the bottom front teeth. The goal is to have the sound of the attack be the same.
You might try Doug guh speed it up and then take away the vocalization remove the vocal cords from the equation and just do the tongue motion with air coming out of your body as if you were still speaking. This gives you the tongue motion now play a whole note and add the motion and see what happens
Rufftips trumpet stuff I tried this and of course it will take time but this helped, thank you. I struggle with playing the doug and the eh one after another. I think it’s hard to move from making my tongue, and then my throat play one after another, almost a coordination problem I think, but I think that will resolve in time. Cheers for the help :)
Rufftips trumpet stuff my pitching of the guh is also bad, and I struggle to hit a note exactly and not splice it with another, but again I think (hope 😬) that this will resolve with practice
Max Dixon Make sure the tongue position of the guh sound is very high in your mouth and not back in your throat. Like you’re trying to make that sound on the soft palate. This is why I suggest the sound gay because it’s made very high On the roof of your mouth.
Jackson McCullough Basically you would adapt the syllables to the best possible results for yourself. Something to the effect of duh,dee, guh to replace ta, ta, ka. Experimentation with syllables may be the key to having better success with any multiple tongue pattern.
PotatoNation21 work slowly on the K, Ka sound. Try practicing it without the trumpet and then bring the trumpet back into play and see what happens, Best Jon
HI Jon, I should have been a bit more clear. Ha, I honestly don't care about a triple tonguing video. I was just trying to make a point. I always see your videos on the sidebar and I rarely watch them. I don't watch them because you always start a title with "Hi kids" I am not a kid. It just makes me feel like you're looking down on us. If the title did not contain that phrase I would probably watch more of them. I have seen some of your videos but not that many because of the reason I stated. This is more of a constructive criticism so you can get more viewers. I think you would get more viewers if you removed that phrase.
As I take no offense to “Hi Old Man” you should take none to “Hi Kids”. It is a generic greeting and has no connotation behind it. I came up with this greeting and the idea to start the channel while on the road hanging out with a great friend. The genesis of the channel was meant to be much less serious then what it became. I lost the first 6 original videos to cyberspace so the original tone of the channel was lost with them. I was thinking entertainment and information. My hope is that most folks understand that the channel is simply there to present information to provoke thought. Early on I did my best to present information that is not typically covered in the classic pedagogical curriculum of the US school programs. I also sought out sound bite advice of world class professional players. As things progressed I was asked a lot of interesting and difficult questions. I let these change the direction of the channel to a more informative platform as opposed to entertainment and information. In several videos I am being silly and at times a bit over the top. These videos reflect the early entertainment concept of the channel. I think if you take a moment to look through my responses to comment questions you will see I am trying to provide the best information possible and hopefully not doing this in a condescending way. My videos are not meant to be something that is the only way to do something but a possible way. This in of itself is an attempt to provide a neutral presentation. I also mention other channels and instructors as I feel they have very good things to offer. Nothing I present or say is meant to put anyone down it is only meant as a possible way to help unlock some aspect that makes playing more fun for the viewer. Best, Jon
Okay. I understand. I was watching your video about range(where you pulled out your first cornet). I did not finish watching it, I came to reply to you. You said, that the equipment does not matter. I am a comeback player. I played the lead in the HS jazz band and I pulled out my trumpet from time to time. But now, it seems I am really back into playing. I have been playing for about a month now. I was a big Claude Gordon fan. His books were my bible. He said, "Just get one mouthpiece and stick to it." I always did, I have always used a 1.5C. I could play a double G on it. But now that I am older. I think it would be so much easier with a smaller mouthpiece and possibly a smaller bore. What are your views on this? Some equipment being easier.
I honestly think equipment makes a difference. I believe it is important to find quality gear that becomes as transparent as possible. In other words it becomes less about the gear and frees us up to concentrate on making music. I recommend looking for gear that is easier to play and control so. I think getting the best gear for each individual is important. I find that dialing in our gear is a big help to us. I have a video about getting the best gear possible, it offers some interesting thoughts about gear. ua-cam.com/video/ec9QaLnh3ho/v-deo.html I also have a video about what gear is not going to do for you. Gear obviously only can take you so far. I think it will make a difference but it won’t solve all issues. Fixating or obsessing on a constant quest I think is to some degree a detriment. In your situation I think it is absolutely a good idea to investigate mouthpieces. As we age things change and the type of music we might want to play also might change. I recommend finding a manufacture to work with they can help guide you toward gear that works well for you. I also have a video on the mouthpiece safari. I offer some information on how to narrow down the search. ua-cam.com/video/t4UMSmU1s-g/v-deo.html I hope some of the information and ideas help. Best, Jon
It’s a verbal symbol that represents a tongue position. T key; if you say it you will feel your tongue in a particular position in your mouth. Best, Jon
Charles Mizzi my first advice is to get a more comfortable motorcycle; one that can carry a trumpet with ease. Send me a message through the UA-cam message option on my channel page.
@@Rufftips I like to see your trumpet videos and I have learned a lot but the upper high register I can't go beyond the upper Eb. I have seen the video that you show how to improve the upper high register but I am finding it hard. Thanks for your Videos they are very interested.
Charles Mizzi I would put my email on the reply but I do not necessarily want that information that public. If you go into my channel from a computer and click on the channel itself you should be able to send me a message once you message me then I can give you an email and we can connect. If you can’t figure out how to do this there is another way I can get you in communication directly with myself
Charles Mizzi go to this form page and become a member. www.trumpetherald.com Once you are a member find rufflicks and send me a message through the forum. We will be able to communicate privately there. Best, Jon
Of course the hiwaiian teacher teaches the TIKI method
+daniel leibovitch YES well played. Lol
The K was my issue and the G gah sound helped me relax. It is arguable that the G and K are in the same place as well. I felt the G lowered my tongue and relaxed my approach allowing me better results. Just my experience and not an absolute.
Jon
Thanks for the help 10 years later
Very good advice! My teacher and I tend to work more on orchestral work and classical solos, and don't get a lot to double tonguing. We've talked about it, but i tried learning it before we really got in depth! I've heard this strategy before, but now I really need to lay it down and get the double-tonguing down, 'bout time!
This has literally been the most helpful double tonguing video I've seen.
+Jacob Brooks So glad it worked for you good luck. Best, Jon
I'm doing "Concert Etude" by Alexander Goedicke for District 16 and State Solo and Ensemble. Its a trumpet solo that focuses on double tonguing.
+James Ellis Slow and clean at first then increase speed incrementally. Remember a clean controlled musical performance that is under marked or commonly played speed is far better than a frantic mess of notes. Best, Jon
Rufftips"Concert Etude is going very well. I learned how to double tounge last year in my sophomore year and my private instructor taught me to say it like you were saying "Ticket". Ex: Ti-ki-ti-ki-ta.
Sameeee but its for an audition
Kendamazzz, It does not mater where you start it’s where you end up! Good for you for being honest this is a very mature step. Now that you have identified a weakness you can work on it. Take your time and do it right. If you do it right you won’t have to relearn it later. Good for you… do not get frustrated simply keep at it and it will get better. Jon
D-G-D-G is exactly how I used to practice Hi-Hat patterns with the mouth when not behind a drum kit.
Thank you for this video I don’t have a private lesson teacher and you taught me the fundamentals and I am starting to get better everyday
OMG thank you! I've been practicing double tongue like "Ta-Ka" and it doesn't work for me. This is very helpful!
1:28 - 1:31 Little Mike Pence practicing future career
Awesome, didn’t know this was how it was done. I want to use breath controllers with my synths. Thanks.
Excellent Method.. I've been teaching Tu Ku but listening to you I have been doing Day Gay.. Great What knucklehead gave you any thumbs down I don't know... This was Great Professional Sharing! (Trumpet play since 1963)
How about triple tounging? Can you make a video on triple tounging? I already know how to do it, but maybe you could do a video to help others with it.
Best advice ive found on double tonguing
Wow thanks for this tip! You are very kind,
And i have to perform this in two weeks as of today. And when i say all grades i meant 6th 7th and 8th. Im in 7th but the 8th grade have an embarrassing trumpet section in both bands so yeah...
It means your a junior now. I hope you enjoy your old comment from 7th grade!
Cadence it means your a senior now!! I’m a freshman but hope you’re still enjoying band
GRADUATION 🎓
See now im in a bit of a problem... Im the top trumpet player in my school (all grades) and i just got a solo that im going to preform... Now the problem is that it has sixteen notes at 120 BPM and i have no previous knowledge of double tonguing so is there a quicker way to learn this?
Also i have to say you are an amazing trumpet player and i do a lot of studying about the trumpet and ways to play it. You are awesome dude!
+Deoxins unfortunatley I did not see this untiltoday. I do not know of a quick way of learning to double or triple tongue. If
you practice with only the ku or gay syllable it will help that feel more
comfortable. Once you have the attack sounding the same as the tu they attack
then practice they gay or tu ku and you consistency will be better and you will
be able to speed things up without tripping over the tongue motion. Best, Jon
I'm freshmen in marching band and have to do 16 notes at 160 BPM it's hard
@@MrCurlyKingx yea I'm in 8th grade and I heard double tounging in the previous high school shows. So I'mma try to learn this now instead of waiting to the last minute at band camp when my chops are fucked
I'm learning from the Arban's book. It's really helpful for range.
Doing “Kirkpatricks Muse” by Jay Bocook as a 2nd trumpet, very helpful!
Thank you so much, very helpful lesson! I had troubling with double-tonguing using the "tah-kah" syllable and this is helping me a lot. I needed this a lot as at our school, we're doing "Festive Overture" and "The Circus Bee", which has some isolated trumpet parts. I can do it, as of now, at 118, any advice to get me up to a tempo such as 150?
Danny Nguyen Start slow get it to happen clean and speed up the metronome a little faster make it clean a little faster make it clean you have to start slow and then slowly speed up
I CAME HERE BC I WAS PRACTICING FESTIVE OVERTURE WHAT A COINCEDENCE
helping on a virtual wood-wind in trumpet mode. i will update after a week
*absolutely*
thank you Rufftips
This helped me thanks :)
Thanks for the video. My question: If I have a passage in a song in concert band that isn't necessarily fast, would it help to also practice double those kinda passages as well?
Sure this would be fine. Make it clean as possible. Best, Jon
look at his money hat
Yep
@@Rufftips Mr Money
thanks.
i get tongue tied very easily is there anyway to fix that when doing the "Day gay" exercises?
To learn the motion and make it smooth you need to slow down and relax. 60 beats per minute is as fast as you should start, might even go a bit slower. You should also practice the K or Gay syllable by itself. This will help you get the motion more comfortable and natural feeling. Once you are comfortable at 60 beats per minute then go to 64. Then slowly and I mean slowly increase tempo when you are comfortable with each new faster tempo. You will finally get there and it will be solid. Best, Jon
ive also notice that i can do the exercises but i cant seem to do it on my mouthpiece any idea?
Well I never practice multiple tongue exercises on my mouthpiece. My guess is that the lack of back pressure with the mouthpiece alone makes it more difficult to execute this type of exercise. Best, Jon
me too
If your able to respond my question is that how are you suppose to double tongue while buzzing?
hahahaa, wow, yeah double tonguing drug effect to wig out the parents.... I LIKE it. Simple, basic, do the hard work. Good advice Mr. Ruff.
Just wanted to make sure, are the syllables you're recommending "day-gay" or "they-gay." Thank you.
Roy Breiling You can even use the and guh. It’s more about tongue placement that it is the syllables themselves they are simply a vehicle to try and describe a position. Ta and ka area different position. I would highly recommend whispering the syllables more than pronouncing them. If you whisper the two different syllable approaches you should feel a completely different motion in the tongue
/t/ and /d/ are produced at exactly the same place on the palate. The only difference is that /d/ uses the voice.
If you have trouble, think in terms of hard-G instead of K, and your tongue might go more easily.
Sorry if this a weird question but does tongue size affect how fast someone can tongue on trumpet? I've practiced for many hours and with a mouthpiece it is very difficult but without a mouthpiece I'm able to tongue very quickly. My band director said some people just can't so I hope I'm not one of those people.
Yief I think it is possible that size can make it a bit more difficult. The thing to do is start slow and get the K or koo or gay sound to be the same as the tu or du. Just K tongue to get this action comfortable. Then had the tu or du and go slow. Speed will come with good form.
"Your parents are going to think you are doing drugs" LMAO
Hello! I have a question. How do you tongue using the second syllable? Obviously it’s easy to tongue using the first, but what I can’t seem to grasp is tonguing with the second syllable. Are you still using the front of your tongue? Asking for some help
emotional It is a guh sound in speech. Literally say, “they gay” over and over. Feel what the back of your tongue is doing in the back of your mouth on the gay syllable. Then isolate that syllable by saying guh over and over. The action of the guh or gay syllable momentarily stops the air. The release of the air is what creates the attack. The traditional syllables to double or triple tongue are T and K or Ta and Ka. You need to find syllables that work for you. The secret is to vocalize the syllables and then figure out how to put them into practice when playing one note like a G in the staff. Alternate syllables on quarter notes. They in front, Gay for the syllable in the back of the mouth. Keep your air support constant interrupting it with your tongue in both positions. We have to start this process very slow and very deliberate.
Rufftips Alright, thank you so much. I’ll work on it and get back to you on my progress.
I'm gonna take a while. I can barely go 104bpm 16th notes double tonguing. Well, i got all summer to learn.
I love this, can you do something on diminish note?
We do tuku
Should tonguing exercises be done after a music exercise when the tongue is already fatigued a little bit making it work extra harder ? If I practice my tonguing first maybe my music won’t be as crisp because the tonguing exercise impact playing music. ..just a thought, I always yield to you wisdom and playing experience. ( side note I’ve been practicing my general tonguing in low #f position just to adding resistance like you’d do at the gym, you’re thoughts on this ?)
Paul Dance It is difficult to prescribe any type of practice program through conversations such as this. There are too many factors involved and too many unknown variables that would have to be discovered to be able to truly give advice how to do any particular process. That being said I think that tonguing exercises are important and should be explored. I also think that Music is the focus and should always be put first, or at least be in the forefront of our approach. I think that everything can be accomplished as long as you rest in between exercises. Also it is important to not try to do too much in one sitting or one practice session. Just like we should never over eat we should never over practice. The best process is to engage in several practice sessions throughout the day. This may be difficult to achieve so we must then realize we should look at our practice as something that is done over a week not something that is limited to each day. So an answer maybe to practice music one day and then exercises the next. Realize that defining what you do throughout an entire week might help you organize what you are trying to accomplish. I think most trumpet players are thinking on a daily basis instead of a weekly basis. If you think about what you are trying to accomplish you can develop a plan that allows you to utilize an entire week. You may find that it is easier to organize your practice on a weekly basis. I hope this helps best, Jon
Rufftips well said, new players try to accomplish too much too fast instead of allowing things to organically evolve over a period of time...to your advice I’ll practice technical things one session and music as a separate event, allowing plenty of rest between.Thanks for your wisdom and your willingness to respond.
I dont understand,doesnt the K/G sound come exclusively from the throat?
Doflamingo xxx key gee... say key gey and keep the tongue in the exact same spot to say gey as key. It’s about where the tongue is not necessarily the sound of the syllable. The concept is to to soften the tu ku or ta ka and change tongue position slightly to help make the action smoother. It is a softer attack. If you say they get, they get over and over and then speed it up until it turns into they gay or duh guh, then remove the voice and continue the tongue motion this should give you the concept.
@@Rufftips i got it now,thanks for the clarification!
yoooooo this helps
I have never had my face get soar only when playing the scales and now it doesn’t get soar at all I have great range and correct posture but my mouth never gets soar why?
i have to learn to do this by tomorrow 😵
You make it looks so easy 🎺
hey thanks for the great videos with demonstrations and explanations, do you have time for an apprentice... If so how do I get in contact with you?
Sadly Jon Ruff passed away in a motorcycle accident in 2020. He was a great trumpet player, teacher and a wonderful human being. ❤️🙏
I understand the ta part but the second part wether it be ‘ku’ ‘gay’ ‘diga’ I don’t understand how to play a clear note with the second part of the tongue
When I play I can feel my bottom lip kinda sucking in and then pushing out. How do I fix this?
Beatmydog likewiz A bit more information is needed what are you doing when it’s going in and what are you doing when it’s going out?
Rufftips whenever I try the back ‘ka’ syllable the bottom left of my lip goes in then out really fast. It’s only on the back syllable
Beatmydog likewiz Without seeing what’s happening my guess is you’re actually moving your jaw to some degree. The idea is to only move the tongue and separate that motion from everything else. Slow everything down take it very slow to see if you can figure out why there’s extra motion. Try to illuminate any emotion other than what the tongue is doing
My problem is the way one has to move your lips to pronounce a "k" type sound, to double tongue, and then try to blow a note on the trumpet. In your video, you make the "k" syllable by moving your mouth excessively( Ta-Ka). How can you then blow a note? You seem to overcome this by using "dey- gay" if I hear you correctly. Your comments on my basic question will be appreciated.
Is it possible to answer my question?
I have a question, so when you are saying the syllables are you supposed to actually say them because when I play and so it the second note sounds terrible. is it part of the process or am I doing something incorrect
I know you probably won't see this, but it's part of the process because you want to make both syllables sound the same when articulating them on the trumpet.
so im wanting to march in dci, and for doing this, double tonguing is a requirement and this leads me to this: is there a specific exercise for learning how to double tongue while marching or does it not matter
steverman Double tonguing is all about the syllables you use or the ones that work for you. To figure out what coordination might feel like you can easily walk and say the syllables tu ku
they gey works WAAAAAAAY better. Thank you!!!! :D
Is there a possibility that my question will be answered?
Hello I know this vid is from a while ago so you probs won’t reply but anyway
I’m trying to double tongue and I can do thegay and tiki nice and fast aloud however when buzzing or when I have my mouthpiece to my lips I cannot make the sound through the mouthpiece thanks
Alexander Clay I would start the motion very slowly. The secret is being able to keep the air going in a constant stream and allowing the tongue positions both the Ta and the Ka or They and the Gay to briefly stop the air and then release it for the attack. When we say that we’re tonguing what we’re really doing is were stopping the airflow for just a second and then releasing it. The release is the explosion that creates the attack. When you say the word tough Field where your tongue is and what happens as soon as you start to say the word releasing the T sound. This is how we talk or create an articulation. So the same thing cast to happen on the ka or gay. Say the word game and pay attention to where your tongue is. As you begin to say the word your tongue releases the air and the word forms. It is the moment of release of the air that you have to concentrate while saying the word they or gay. It is not simply the tongue motion itself that creates the attack it is the fact that it is stopping the air just like it does when we are speaking. Some words are formed by having the lips close and reopen some are formed by the time you’re stopping the air. This is why syllables are important for understanding what our tongue is doing but what is not talked about is how we use the air behind the tongue. Once again your hair Hass to always be attempting to leave your body and interrupted by your tongue. Hope this helps. Best, Jon
What about for staccatos. Same pronunciation but faster tongue?
Drew Patterson I would experiment with a slight modification of the syllables (they gay). Try (the guh) for example.
Will playing the Arbans double tounging exercises help me improve well?
Faith Bajani They are some of the finest exercises ever written for double tongue
Thx
Hi,
So I am trying to double tongue but am confused on if there is a difference as to where the front of the tongue hits between the tu and ku. I know that there is a difference between where the back of the tongue is but I don't know where to put the front of my tongue for the 'ku' or 'gay' syllable. Any help is appreciated.
Chas Chappell The position of the front of the tongue on the ku syllable is slightly back away from the front teeth. It is in a relatively similar position as when you are playing a whole note. In other words when you use a normal tu attack the tongue goes in the attack position and then returns to a neutral position that allows air to flow to the lips. When in this position the back of the tongue now can move to create the ku or gu attack. Basically think of it as front back, front back. Say tu ku, tu ku, tu ku, to ku. Pay attention to when your tongue is doing when you use those syllables. Hope this helps Best, Jon
@@Rufftips thanks so much! That helps a lot! 🎺
Hi, i have a problem with double tounging, i see all these videos and i dont think anyone else has this problem. But, everytime i tounge with the back of my tounge with the "Ka" or "gay", alittle air builds up in my mouth, and it prevents me from tounging efficiently/producing good notes. Will this go away with practice? How can i prevent this? am i doing something wrong? please help me ):
Do your best to stay relaxed and back off on how much air you are trying to use
Jessica It is the concept of where your tongue rests. Ta and Ka or Tu-Ku work well with a higher tongue tip position on the top front teeth. They-Gay or Day-Gay works well for a lower tongue tip position low on the top front teeth or at the top of the bottom front teeth. The goal is to have the sound of the attack be the same.
Im confused on the “gey” part when i try to play it, i just double tongue twice
The infamous "they gay" method
What are the exact syllables that you are using?
day-gay
Day Gay
I don’t understand how to transfer the speech of ‘they gay’ into actually playing double tongue, any tips?
Say the syllables and speed them up as quickly as possible and remove the vocal cords from the equation
You might try Doug guh speed it up and then take away the vocalization remove the vocal cords from the equation and just do the tongue motion with air coming out of your body as if you were still speaking. This gives you the tongue motion now play a whole note and add the motion and see what happens
Rufftips trumpet stuff I tried this and of course it will take time but this helped, thank you. I struggle with playing the doug and the eh one after another. I think it’s hard to move from making my tongue, and then my throat play one after another, almost a coordination problem I think, but I think that will resolve in time. Cheers for the help :)
Rufftips trumpet stuff my pitching of the guh is also bad, and I struggle to hit a note exactly and not splice it with another, but again I think (hope 😬) that this will resolve with practice
Max Dixon Make sure the tongue position of the guh sound is very high in your mouth and not back in your throat. Like you’re trying to make that sound on the soft palate. This is why I suggest the sound gay because it’s made very high On the roof of your mouth.
Sounds like an old Danny Gonzalez
Triple tongueing?
Jackson McCullough Basically you would adapt the syllables to the best possible results for yourself. Something to the effect of duh,dee, guh to replace ta, ta, ka. Experimentation with syllables may be the key to having better success with any multiple tongue pattern.
I can't make a kuh noise in my trumpet.
PotatoNation21 work slowly on the K, Ka sound. Try practicing it without the trumpet and then bring the trumpet back into play and see what happens, Best Jon
HI old man, do you have any triple tonguing videos?
asmcriminaL I have not done a video on triple tonguing. I suppose I will put that on my list. Best, Jon
HI Jon, I should have been a bit more clear. Ha, I honestly don't care about a triple tonguing video. I was just trying to make a point. I always see your videos on the sidebar and I rarely watch them. I don't watch them because you always start a title with "Hi kids" I am not a kid. It just makes me feel like you're looking down on us.
If the title did not contain that phrase I would probably watch more of them. I have seen some of your videos but not that many because of the reason I stated. This is more of a constructive criticism so you can get more viewers. I think you would get more viewers if you removed that phrase.
As I take no offense to “Hi Old Man” you should take none to “Hi Kids”. It is a generic greeting and has no connotation behind it. I came up with this greeting and the idea to start the channel while on the road hanging out with a great friend. The genesis of the channel was meant to be much less serious then what it became. I lost the first 6 original videos to cyberspace so the original tone of the channel was lost with them. I was thinking entertainment and information. My hope is that most folks understand that the channel is simply there to present information to provoke thought. Early on I did my best to present information that is not typically covered in the classic pedagogical curriculum of the US school programs. I also sought out sound bite advice of world class professional players. As things progressed I was asked a lot of interesting and difficult questions. I let these change the direction of the channel to a more informative platform as opposed to entertainment and information. In several videos I am being silly and at times a bit over the top. These videos reflect the early entertainment concept of the channel. I think if you take a moment to look through my responses to comment questions you will see I am trying to provide the best information possible and hopefully not doing this in a condescending way. My videos are not meant to be something that is the only way to do something but a possible way. This in of itself is an attempt to provide a neutral presentation. I also mention other channels and instructors as I feel they have very good things to offer. Nothing I present or say is meant to put anyone down it is only meant as a possible way to help unlock some aspect that makes playing more fun for the viewer. Best, Jon
Okay. I understand. I was watching your video about range(where you pulled out your first cornet). I did not finish watching it, I came to reply to you.
You said, that the equipment does not matter. I am a comeback player. I played the lead in the HS jazz band and I pulled out my trumpet from time to time. But now, it seems I am really back into playing. I have been playing for about a month now.
I was a big Claude Gordon fan. His books were my bible. He said, "Just get one mouthpiece and stick to it." I always did, I have always used a 1.5C. I could play a double G on it. But now that I am older. I think it would be so much easier with a smaller mouthpiece and possibly a smaller bore.
What are your views on this? Some equipment being easier.
I honestly think equipment makes a difference. I believe it is important to find quality gear that becomes as transparent as possible. In other words it becomes less about the gear and frees us up to concentrate on making music. I recommend looking for gear that is easier to play and control so. I think getting the best gear for each individual is important. I find that dialing in our gear is a big help to us. I have a video about getting the best gear possible, it offers some interesting thoughts about gear.
ua-cam.com/video/ec9QaLnh3ho/v-deo.html
I also have a video about what gear is not going to do for you. Gear obviously only can take you so far. I think it will make a difference but it won’t solve all issues. Fixating or obsessing on a constant quest I think is to some degree a detriment. In your situation I think it is absolutely a good idea to investigate mouthpieces. As we age things change and the type of music we might want to play also might change. I recommend finding a manufacture to work with they can help guide you toward gear that works well for you. I also have a video on the mouthpiece safari. I offer some information on how to narrow down the search.
ua-cam.com/video/t4UMSmU1s-g/v-deo.html
I hope some of the information and ideas help. Best, Jon
Tiki-Kiki?
It’s a verbal symbol that represents a tongue position. T key; if you say it you will feel your tongue in a particular position in your mouth. Best, Jon
How can I contact you I need some advise. Tks
Charles Mizzi my first advice is to get a more comfortable motorcycle; one that can carry a trumpet with ease. Send me a message through the UA-cam message option on my channel page.
@@Rufftips I like to see your trumpet videos and I have learned a lot but the upper high register I can't go beyond the upper Eb. I have seen the video that you show how to improve the upper high register but I am finding it hard. Thanks for your Videos they are very interested.
Charles Mizzi I would put my email on the reply but I do not necessarily want that information that public. If you go into my channel from a computer and click on the channel itself you should be able to send me a message once you message me then I can give you an email and we can connect. If you can’t figure out how to do this there is another way I can get you in communication directly with myself
Charles Mizzi go to this form page and become a member. www.trumpetherald.com
Once you are a member find rufflicks and send me a message through the forum. We will be able to communicate privately there. Best, Jon
"they gay"
Too quiet
Really poor sound quality.