Anchor Tonguing

For those of you who do not know what achor tonguing is - this may get you started.   The rest of the page can be found at  http://www.brandonu.ca/Music/People/FacultyPages/fordr/woodwinds/westphal%20clarinet%20web/tonguing_clarinet.htm 

Placement of Tongue 

The manner in which the tongue touches the reed, the place it touches, and how it moves is dependent somewhat upon the embouchure formation. There are several points of view on how this is done and each is effective.

In essence the tongue acts as a valve to control the flow of breath through the mouthpiece, stopping the breath and vibration when it touches the reed, and allowing the vibration to begin again when it is removed and the air flow begins again.

Effective articulation is entirely dependent upon the flow of air through the mouthpiece and upon proper breath support and control. The interrelationship between breath pressure and tongue pressure against the reed will produce a wide variety of articulation styles from the hardest marcato staccato to the very smoothest legato which can be controlled in a wide dynamic range. The amount of pressure of the tongue against the reed determines the hardness of the attack, the amount of wind pressure against the tongue determines the loudness of the attack. There are three basic methods of tongue placement used on the clarinet, each subject to variations according to the personal desires of the teachers using them. They have several things in common, however: (1) The tongue is relaxed. A tongue under tension cannot move rapidly enough, nor can it be controlled. (2) Tongue movement is confined to the forward part of the tongue. (3) The tongue acts as a valve for the air and is dependent on good breath support.

The reader may compare the placement and action of the tongue for the three methods below by forming an embouchure using the thumbnail or a pencil to replace the reed. Compare the ease, natural feeling, and rapidity of motion possible on each of the three. The method which feels most comfortable and which provides the most rapid movement will probably be the one that will produce the best results. Experience on other woodwinds, or on a brass instrument will help determine the result.

The three methods may be outlined as follows: First method. This method is used and taught by many fine clarinetists. It produces maximum flexibility and facility and is adaptable to solo, chamber music, band, and orchestra performance. This method is recommended by the author. With the mouthpiece in playing position, and the embouchure correctly formed, feel with the tip of the tongue the junction of the reed and the lower lip. The reed and lip form a small V-shaped pocket. The tongue should be in this pocket with the top of the tip of the tongue curved up and touching the reed lightly about three-eighths of an inch from the tip. To start the tone put the tongue in place on the reed and build up wind pressure against it. Release the air into the instrument with tongue action similar to that in pronouncing the syllable “too.” The center of the tongue is depressed slightly so that the tongue will not lie flat on the reed. Figures C.30 and C.31 show this tongue position.   Second method. With the mouthpiece in place and the embouchure properly formed, the tongue is drawn up and back with the tip pointed. The center of the tongue is arched and the throat kept open. Action of the tongue is forward, contacting the reed an eighth or sixteenth of an inch from its tip, with the top of the tongue about an eighth of an inch from its tip. Pressure of the tongue against the reed may be light or heavy, depending on the type of articulation desired. To start the tone place the tongue against the reed, build up air pressure against it, and release the air with a tongue action similar to that in pronouncing “du” to start the tone. Figure C.32 shows the tongue in position on the reed for this type of articulation. Anchor tonguing. The third method, called anchor tonguing, is infrequently used. This method should preferably be used only under the direction of an instructor-clarinetist who can oversee its development. With the mouthpiece in place and the embouchure properly formed, the tip of the tongue is anchored against the base of the lower teeth. Keeping the tongue anchored against the teeth, the tongue moves up and forward to contact the reed an eighth to half inch from its tip. The point on the tongue which contacts the reed is found naturally and is determined by its natural placement. Experience with advanced students who use this method has indicated that this articulation technique does not have the potential of as great a variety of articulations as either of the previous methods, nor is speed and control developed as rapidly or to as great an extent. Unless there is a strong personal preference for this method it should be used with caution.  

You will see anchor tonguing being used by a number of beginning low brass players if the director has not adequately exlained how to use the tongue when starting the note.  It is really a pain when a student begins studying with you and the have been anchor tonguing for several years.  Almost impossible to fix by that point, unless the kid really works at it.

Good topic.

I did not know that anchor tonguing was a problem with beginning brass players.  Come to think of it, it does make sense.  Learn something new each day.