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Methods of Teaching Clarinet Articulation

Neil Tafelmeyer, M.M. NDSU Clarinet Research Project Dr. Douglas Monroe, Coordinator Articulation is how musicians punctuate musical sentences. It is achieved through various

mediums, (fingers, mallets, bows, tongue and air), and takes a great amount of practice and study to master. Good articulation is an essential technique that every wind player should have in his skill set. In music, articulation enables musicians to create complete ideas and to create phrases from a series of pitches. As a violinist is able to achieve countless styles of articulation with his wrist and bow, so wind players must accomplish the same variety of articulations with their airstream and tongue. Every clarinet student will encounter the technique of articulation and tonguing, but the challenge remains: what is good articulation, and how does one achieve it? Unfortunately, many students have been the victims of hasty and careless instruction in the art

of tonguing, causing frustration later in the students playing. A problem with clarinet articulation (and any wind instrument) is that articulation is a rather elusive skill to master. Both teacher and student cannot see what is actually happening inside the mouth. Often, a student using bad habits can achieve overall good articulation that does not become apparent to the teacher until fast articulated passages are played. The concept of articulation is also quite abstract, especially in relation to phrasing and

musicality. Conceptual and technical ideas are sometimes hard for young students to grasp, and teachers may struggle to find simple words that will elicit the sound and action desired. Despite these challenges, there are many clarinet performers and teachers who have

successfully devised methods of teaching articulation and are themselves fantastic articulators on their instrument. The following articulation methods are used by influential performers and pedagogues such

2 as Daniel Bonade, Keith Stein, Pete Hadcock, Rudolf Jettel, Charles West, Patricia Carlson, Stanley Hasty, and David Pino. In most cases, information was acquired through interviews with the players themselves or from former students. For others, I used their published method books. Although several articulation methods were researched, I found many commonalities shared between methods. Before examining each one, I believe it is prudent that I address the articulation methods found to be unanimous. The first concept to be shared amongst all players is that air is the determining factor in

tonguing, not the tongue itself. Second, the tip of the reed is the only place on the reed that is to come into contact with the tongue. I hesitate to say the tip of the tongue is the only part of the tongue to make contact with the reed for reasons discussed later. Third, the air stream is always supported during tonguing as it is when slurring. Fourth, light, small tongue movements are used. Last, legato tonguing is preferred. When it comes to anchor tonguing (when the tip of the tongue is anchored on the bottom teeth) there is still some debate. In researching these methods of clarinet articulation, I found it to be true that teachers who advocate anchor tonguing do so when a students tongue is rather large, making it difficult to use the tip of the tongue. Other teachers, however, believe anchor tonguing is too limiting and advocate tip-to-tip articulation (where the tip of the tongue makes contact with the tip of the reed). One reason for such unanimity in articulation methods is that many clarinet teachers in the

United States today can trace their clarinet ancestry to the great performer and pedagogue Daniel Bonade. Bonade was responsible for training a generation of players who held top positions in orchestras and universities throughout the country. Bonades method of staccato is perhaps the most influential method of articulation used in the United States, and it is no wonder that nearly every method of articulation researched in this article in some way derives from Bonades method. Daniel Bonade

3 Bonades method of articulation is described in his Clarinetists Compendium (G. LeBlanc). As

mentioned above, his method is widely taught in the United States. In his Compendium, Bonade stated that he not only successfully taught this method to his clarinet students, but also found success with flautists, oboists, French horn, and trumpet players.1 Thus, the Bonade method of articulation is beneficial to all wind players and teachers. D. H. Evans article, Better Clarinet Articulation (Instrumentalist Vol. 44 October 1989) also provides a summary of the Bonade method of articulation. It is important to note that Bonade stressed the importance of practicing his method slowly and

methodically, so as to create muscle memory in the tongue. Bonade advocated tip-to-tip articulation where the very tip of the tongue touches the tip of the reed when tonguing. A crucial factor in Bonades staccato method is that the tongue never moves away from the reed tip, it only moves forward just enough to stop the reed from vibrating, and moves back only to the point where sound is produced. This process ensures minimal tongue movement and encourages the use of as little tongue as possible. He also advocated that the tongue should rest near the tip of the reed for minimal movement when tonguing is next needed. Another critical element in Bonades articulation method is that one should interpret staccato as

an interruption of legato playing.2 This means that there should be no difference in how one blows through the clarinet when tonguing and when slurring. Therefore, the air stream is supported even when the tongue is on the reed, an idea foreign to most young students. In staccato passages, the tongue merely temporarily stops the reed from vibrating while air is still being supported through the clarinet. In order to learn the correct tongue motion and proper air support, Bonade uses an exercise where students hold an open G, then stop the sound with the tip of the tongue while still blowing, and after a rest gently release the tongue. This process should be repeated until the student has mastered the proper tongue movement. After the movement feels natural, the student should try the same
1 2

Daniel Bonade, The Clarinetists Compendium (Kenosha, WI: G. LeBlanc, 1962), 8. Ibid.

4 exercise, but with smaller note values and longer rests. When practicing the short staccato, remind the student that the tongue should always stay lightly on the reed. This type of articulating can be applied to any speed including legato staccato. When teaching finger-tongue coordination, Bonade used a method of finger preparation, where

the fingers move to the new note while the tongue is still on the reed. Bonade suggests students play a scale slowly with sixteenth notes on the downbeats separated by rests, then move their fingers to the next note of the scale after the first note has been tongued. This process is very tedious and should be practiced slowly. Yet, students who practice this technique will find that they can articulate fast passages with great ease and fluidity. The finger preparation method is also used when a staccato note is followed by a slur. The last note of the slur should be clipped slightly while the fingers move quickly to the staccato note. However, when slurs are played in succession, there should be no clipped notes or preparation of fingers.3 Stanley Hasty Information on Hastys method of articulation was acquired from an interview with Dr. Bruce etc.

Curlette from Cederville University. Hastys method of clarinet articulation was derived from the Bonade method (he was a student of Bonade). His teaching of clarinet articulation was simple, making us aware that as teachers, articulation is sometimes unnecessarily overcomplicated. Hasty believed the basic way to start a note was saying the syllable tah using tip-to-tip articulation. In pianissimo passages, however, Hasty suggested using a breath attack (ha tah).
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Daniel Bonade, The Clarinetists Compendium (Kenosha, WI: G. LeBlanc, 1962), 10.

5 When beginning a tonal entrance, Hasty stressed that 100 percent of sound should always be

heard at the release of the tongue, always using strong air support. Hasty also recommended using the corners of the reed tip, and that the back of the tongue should rise in the oral cavity when tonguing higher in the clarinet. Etudes used to teach articulation include etudes nos. 2, 4, 8, and 16 in the Rose 32 Etudes. John Mohler as described by Dr. Robert Spring and Patricia Carlson Dr. Robert Spring is undoubtedly one of the most celebrated articulators in the clarinet world in

both single and multiple tonguing. Patricia Carlson, clarinetist in the Virginia Symphony, is also an excellent teacher of clarinet articulation. They both share a common lineage, studying with John Mohler who studied with Bonade. Both Spring and Carlson advocate tip-to-tip tonguing. Like Mohler, Carlson and Spring believe articulation is not an attack, but rather a release of the tongue. This is an extremely important approach to tonguing. When hearing teachers say the word attack, students too often do just that, using too much tongue producing a thud. Two problems result from this kind of articulation: first, the tongue moves forward putting too much pressure on the reed, and second, the tongue moves backward too far away from the reed. Spring and Carlson teach staccato tonguing in the style of Bonade, keeping the tip of the tongue

always on the tip of the reed. When stopping the tone, there should be a slight hum to the sound. Both teachers have their students practice this tongue motion using the Bonade open G exercise in repeating patterns. Once the student can achieve correct, minimal tongue motion, then speed and coordination is attempted. Spring incorporates articulation into a daily warm-up routine using the etude in Langenus Book 3, page 22. He can single tongue this etude at a whopping 240 beats per minute. Spring makes us aware of the importance of practicing articulation on a daily basis, incorporating it into a daily warm-up. When tonguing in the altissimo register, Spring and Carlson advocate using even less of the tongue; Carlson also suggests just brushing the corner of the tip.

6 Dr. Charles West Charles West, of Virginia Commonwealth University, uses an articulation method similar to

Spring and Carlson, keeping in the tradition of Bonade. West utilizes a clever saying when teaching students the proper amount of tongue that should be used. He tells his students to use only two taste buds when touching the tip of the reed. West also has students try tonguing on their fingers so as to physically see the amount of tongue they are using. Like Spring and Carlson, West advocates partial stopping of the reed with the tip of the tongue, creating a slight hum. West describes this as a 98% stoppage, and tells students they should hear a slight echo in the sound. West uses etude no. 5 from the Demnitz Arpeggio Studies to teach proper articulation and

proper voicing. Students are asked to play this etude with an absolute legato tongue, making sure the air stream is well supported. Regarding proper voicing when tonguing, the previous clarinetists interviewed so far describe

the tongue being low, forward, and creating a right angle to the reed. They continue to say that when tonguing higher in the clarinet, the back of the tongue must arch upward (similar to saying eeee). This helps to eliminate the groan when tonguing in the upper clarion and altissimo registers. Furthermore, one must also remember to use even less tongue when articulating high passages. This etude helps students to learn smooth legato tonguing and simultaneously trains the tongue to form the proper voicing as the music rises in the clarinets clarion register. This etude should be played slowly, establishing correct tongue motion, and then increase over time to the fastest tempo possible. When teaching voicing in the altissimo, West uses an exercise similar to the Demnitz etude. He

uses a chromatic scale played in slur-two-tongue-two passages. (te yat tah tah). Like the first exercise, this is to be played legato and the student must use minimal tongue and proper voicing to eliminate a thud or groan when tonguing. Students should start on chalumeau Bb and rest between registers, moving up to Bb in the altissimo.

7 Peter Hadcock Peter Hadcock, former clarinetist in the Boston Symphony Orchestra and teacher in the New etc.

England Conservatory, left clarinetists an essential resource, The Working Clarinetist: Master Classes with Peter Hadcock (Roncorp). In his book, Hadcock outlines his method of articulation. Hadcock is unique to this discussion because he used anchor tonguing, not tip-to-tip. Many teachers are hesitant to teach or to allow their students to anchor tongue. When done incorrectly, anchor tonguing has a tendency to sound heavy and produce unwanted sounds when starting a note. However, as indicated by the above interviewed clarinetists, students who have larger tongues generally have more difficulties in tip-to-tip tonguing, and can find success in anchor tonguing. Here is what Hadcock says on the matter:
So, what it really amounts to is that there isnt one correct way to tongue. One method works for one player and the other method works for another. Just be sure to do a lot of careful research and make a real effort to fix whatever is bothering you about your tonguing before you make a major decision to switch methods.
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Many students who anchor tongue do so without knowing it, and have never been introduced to tip-to- tip tonguing. Yet, I believe Hadcock is correct in saying that with careful research and refinement, different types of tonguing can be achieved with success if it best fits the needs of the student. In his book, Hadcock also teaches us that different styles of articulation (soft attack, accent,

legato, etc.) are determined not so much by the tongue, but by the air. This is one of the most fundamental aspects of articulation. The air stream and what a clarinetist does with it, is the determining factor in the style of articulation. Many students are under the myth that the tongue is the
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Peter Hadcock, The Working Clarinetist: Master Classes with Peter Hadcock, ed. by Bruce Ronkin, Aline Benoit, and Marshall Burlingame (Cherry Hill, NJ: Roncorp, 1999), 166.

8 most important force in articulation, and seriously neglect the air stream. Hadcock suggests using a breath attack when entering in soft and loud passages. A breath attack is also suggested when tonguing fast repeated passages. To increase tonguing speed, Hadcock has students play 32nd note pickups leading to an eighth

note, followed by an eighth and a dotted-eighth rest, etc.5 As stated above, he recommends using a breath attack on the first 32nd note of each group (ha tah tah). If a student is having difficulty with tongue and finger coordination, Hadcock has students first

slur the passage slowly, next at tempo, and then apply the proper articulations. Rudolf Jettel Jettel, a student of Polatschek and clarinetist in the Vienna Philharmonic, was a celebrated

virtuoso and composer. In his Clarinet School, Book 2, he outlines exercises for the virtuous staccato. Jettel advocates light tongue movement and, like Spring, believes articulation should be incorporated into a daily exercise. Jettel has students practice tonguing on a single note in different rhythmic patterns, similar to that of Hadcocks, which allow the tongue to articulate repeated notes in increasing speed; these exercises should be practiced slowly at first. Rests should follow after each pattern. Jettel states that there should be no reduction in the strength of the 32nd notes. This exercise can also help students learn proper voicing in addition to speed. If a student is struggling with a particular note, this exercise played on the respective note can help train the tongue to find the right voicing.
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Peter Hadcock, The Working Clarinetist: Master Classes with Peter Hadcock, ed. by Bruce Ronkin, Aline Benoit, and Marshall Burlingame (Cherry Hill, NJ: Roncorp, 1999), 166.

9 Keith Stein and David Pino Both Stein and Pino, who was a student of Stein, have written excellent books on the clarinet

and aspects of playing the instrument: The Art of Clarinet Playing (Summy-Birchard) and The Clarinet and Clarinet Playing (Dover), respectively. Both are excellent resources for the player and educator. Stein and Pino indicate that students with longer tongues might be more suited to anchor tonguing. Both stress that students should approach tonguing as they would when slurring: the air stream must remain connected and supported throughout. In fact, Stein suggests that before students learn to tongue, they must first learn to produce a good tone by breath attack and breath release. This is important because most notes (except fast passages, hard accents, etc.) should be released by the air stream, not cut off with the tongue. As stated above, breath attacks are also used in many pianissimo and fast repeating passages. Thus, it makes logical sense that a student first learn to produce a clear, beautiful tone by breath attack and release. I use the work attack when describing a tonal entrance by breath alone, but it should be noted that both Stein and Pino (and John Mohler) stress that teachers should not use the word attack when teaching tonguing as it can conjure a rather violent tongue action, which produces a less than desirable result. Like Bonade, Stein and Pino suggest that the tongue remain forward in the mouth close to the

reed tip, and during faster consecutively tongued passages, the tongue remain on the reed. Stein calls the partial stoppage of the reed as slightly denting the moving air stream.6 Pino has students find the proper part of the tongue to touch the reed by having students play

an open G and then move the tongue forward until the vibrating reed tickles the tip of the tongue. This is an excellent exercise that trains students to use light, minimal tongue movement in addition to tonguing with the very tip of the tongue. Students should practice going back and forth between the point where the tongue starts to tickle and regular tone is produced. Loraine Enloes article in the
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Keith Stein, The Art of Clarinet Playing (Evenston, IL: Summy-Birchard, 1958), 24.

10 Instrumentalist, Woodwind Articulation (August 2009), provides additional information on the tickle technique. To help uniformity of attack, Stein suggests students play a repeating dotted-eighth-sixteenth

note pattern. He stresses that the sixteenth note should have the same neatness as the dotted eighth.7 The pattern should then be reversed. Stein also advocates the Bonade finger preparation method. Summary The above methods of articulation are all excellent approaches to teaching tonguing on the

clarinet, and other wind instruments. As an educator it is always helpful to have as many tricks available as each student is different and learns differently. Based on the above methods, here are some suggestions when teaching clarinet articulation: Tonguing depends entirely on proper breathing. Make sure your students breathe and support

the air column before you introduce tonguing. Prior to tonguing, teach tonal entrances and releases by breath alone. Remember that tonguing should be approached as one does when slurring. Refrain from using the word attack when teaching tonguing. Try teaching tip-to-tip articulation first. If this method proves unbeneficial, perhaps anchor

tonguing may be the best. Remember, the tongue should be low and forward in the mouth. Stress to students a minimal tongue motion.

Use the tickle method to teach students the proper part of the tongue to use. Make sure

students move the tongue away only to the point where sound starts again. Use the Bonade exercises after the tickle method has been introduced. Students should hear a slight hum when stopping the reed from vibrating. When students are having trouble with finger-tongue coordination, have them slur

Keith Stein, The Art of Clarinet Playing (Evenston, IL: Summy-Birchard, 1958), 27.

11 the passage first then tongue, and use the Bonade finger preparation exercises. When tonguing higher in the clarinet, have students voice eee so that the back of the tongue rises in the oral cavity. Teaching clarinet articulation does not have to be difficult and overcomplicated, nor should it be

oversimplified. With good resources and exercises, teachers can have students successfully articulating with accuracy and musicality.

12 Bibliography Bonade, Daniel. The Clarinetists Compendium. Kenosha, WI: G. LeBlanc, 1962. Carlson, Patricia. Interviewed by author. Phone recording., March 12, 2011. Curlette, Bruce Dr. Interviewed by author. Phone recording., March 26, 2011. Enloe, Loraine. Woodwind Articulation. Instrumentalist 64, no. 1 (Aug. 2009): 51-3. Evans, D.H. Better Clarinet Articulation. Instrumentalist 44, no. 3 (Oct. 1989): 38-40. Hadcock, Peter. The Working Clarinetist: Master Classes with Peter Hadcock. Edited by Bruce Ronkin, Aline Benoit, and Marshall Burlingame. Cherry Hill, NJ: Roncorp, 1999. Jettel, Rudolf. School for Clarinet: From the Elements to Perfection in 3 Volumes. Volume II. Vienna: Verlog Doblinger, 1950. Pino, David . The Clarinet and Clarinet Playing. New York: Dover, 1998. Spring, Robert Dr. Interviewed by author. Phone recording., March 24, 2011. Stein, Keith. The Art of Clarinet Playing. Evenston, IL: Summy-Birchard, 1958. West, Charles Dr. Interviewed by author. Phone recording., March 11, 2011.