[Trumpet] Rethinking Tonguing: The Correct Understanding of Not Stopp…

SUMMARY

Key takeaways

Tonguing is not about stopping the sound, but rather a technique of using the tongue to cut into the airstream and separate notes
The basic syllable is "chu" rather than "ta" or "to" -- by articulating compactly with the tip of the tongue, you prevent unnecessary tongue movement
When practicing tonguing, combine it with articulations such as slurs to balance the airstream and tongue
Maintain the image of cutting into a long tone with the tongue, keeping a continuous airflow without stopping the sound

In trumpet playing, tonguing is a fundamental technique for many players, yet surprisingly few truly understand its essence. The word "tonguing" tends to evoke the image of "stopping the sound," but in reality, it is not about stopping the sound, but rather a technique of using the tongue to cut into the airstream and separate notes. By correctly understanding this concept, smooth and beautiful tonguing becomes possible. In this article, we will explain in detail the correct concept of tonguing, effective articulation methods, and practical practice approaches -- taking you from concept to physical understanding.

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The Essence of Tonguing: Don't Stop the Sound, Cut into the Airstream

The most important concept in tonguing is not stopping the sound. Many players misunderstand tonguing as a "technique for stopping the sound," but the correct understanding is that the foundation is the airstream, and you use the tongue to cut into it and separate the notes.

With incorrect tonguing, you end up stopping each individual note while playing, creating an unnatural state where the air stops and starts, stops and starts. This makes it impossible to achieve smooth tonguing. With correct tonguing, you maintain the image of cutting into a long tone with the tongue, keeping a continuous airflow without stopping the sound.

The Correct Image of Tonguing

The foundation is the airstream, and you use the tongue to cut into it and separate the notes. Imagine cutting into a long tone with the tongue. Maintain a continuous airflow without stopping the sound. By holding these images in mind, smooth and beautiful tonguing becomes possible.

The Recommended "Chu" Syllable: Compact and Stress-Free Tonguing

There are various opinions about tonguing articulation, but we recommend "chu" as the basic syllable. Let us explain why "chu" is recommended.

When tonguing with "ta" or "to," the tongue rests against the back of the front teeth and sound is produced by releasing it. With this method, the contact area of the tongue is large, the movement becomes clumsy, and it leads to unnecessary tongue movement.

On the other hand, with "chu," the articulation becomes more compact, allowing stress-free pronunciation with the tip of the tongue. By using only the tip of the tongue, you can minimize unnecessary movement and achieve smooth tonguing.

When using "chu" as the basic form, the syllable changes according to the pitch register. For example, with the vowel "a" it becomes "cha", with "e" it becomes "che", and with "i" it becomes "chi". In this way, it is important to use "chu" as the basic form and adjust the articulation according to the pitch register.

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Problems with the "Ta" and "To" Syllables

The tongue rests against the back of the front teeth, and sound is produced by releasing it, resulting in a large tongue contact area. The movement becomes clumsy, leading to unnecessary tongue movement. To achieve smooth tonguing, it is recommended to use "chu" as the basic syllable.

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Causes and Solutions

Let us explain in detail the causes of tonguing difficulties and their solutions. We will introduce specific approaches to solving problems such as stopping the sound, focusing only on the tongue, and interrupting the airflow.

Problem 1: Tonguing That Stops the Sound

Tonguing that stops the sound creates an unnatural state where the air stops and starts, stops and starts. This makes it impossible to achieve smooth tonguing.

Solution: Maintain the image of cutting into a long tone with the tongue. While sustaining the same note, cut into it with the tongue to maintain a continuous airflow without stopping the sound. For example, while sustaining a B note, you can achieve smooth tonguing by cutting into it with the tongue.

Problem 2: Focusing Only on the Tongue

When practicing tonguing, the problem arises of becoming preoccupied only with the tongue, causing excess tension that prevents any improvement.

Solution: Practice in combination with various articulations such as slurs. For example, as a basic tonguing exercise, there is the practice of repeating the same note with "ta-ta-ta-ta-ta," but it is important to first try doing it all with slurs. Keep firmly in mind what you are doing with the slur, and remember that the airstream is the foundation, and you cut into it with the tongue.

Problem 3: Interrupted Airflow

When adding tonguing, the problem arises of the air inevitably stopping. When the sound keeps getting chopped up, clean tonguing cannot be achieved.

Solution: By trying everything with slurs first, you create a state where you can blow a steady airstream. Then, by adding tonguing, you can realize the correct image of the airstream being the foundation with the tongue cutting into it. By trying legato tonguing, trying staccato, mixing staccato into slurs, and practicing with various articulations, you will develop the ability to play while considering both the airstream and the tongue.

1. Try everything with slurs first: First, try doing everything with slurs to create a state where you can blow a steady airstream. Since the airstream is fundamental, confirm that you can blow a steady airstream above all else.
2. Add tonguing: Once you have confirmed the airflow with slurs, add tonguing. Remember that the airstream is the foundation, and you cut into it with the tongue. Maintain the image of cutting into a long tone with the tongue.
3. Combine with various articulations: Try legato tonguing, try staccato, mix staccato into slurs, and practice with various articulations.
4. Use the "chu" syllable as the basic form: Use the "chu" syllable as the basic form and articulate stress-free with the tip of the tongue. Since the syllable changes according to the pitch register, adjust so that with the vowel "a" it becomes "cha", with "e" it becomes "che", and with "i" it becomes "chi".
5. Balance the airstream and tongue: You will develop the ability to play while considering both the airstream and the tongue. By achieving overall balance, you can realize smooth and beautiful tonguing.

In trumpet playing, tonguing is not about stopping the sound, but a technique of using the tongue to cut into the airstream and separate notes. By maintaining the correct image of cutting into a long tone with the tongue, smooth and beautiful tonguing becomes possible. Use the "chu" syllable as the basic form and articulate stress-free with the tip of the tongue to minimize unnecessary tongue movement. When practicing tonguing, combine it with various articulations such as slurs to balance the airstream and tongue, and by achieving overall balance, you will develop the ability to play while considering both the airstream and the tongue. By putting this method into practice, your tonguing will improve dramatically, and you will be able to achieve smooth and beautiful playing. Maintaining a continuous airflow without stopping the sound is the key to mastering tonguing.