Brad, I think this was a good idea of a thread, but goes under radar, not many chime in. I have given a second thought of the list I did in the other thread "Tounging issues"
viewtopic.php?p=212187#p212187 with all the articulations
I use. I updated my post there with tounge placement and I also now post the same in your thread.
I hope this triggers comments from some players because I need Ideas for my practice sessions.
I think I have at least 16 different tounge-attacks or sets of tounge articulations that I think of as different techniques and that I use. I guess I also vary them slightly according to what I have to do different in different registers, but this is how I think of them.
Single tounging
1. Ta Ta Ta (tounge position as in "nee nee" with broad tip behind upper teeth)
2. Da Da Da (tounge position as in "nee nee" with broad tip slightly curved behind bottom teeth)
3. La La La (legato, gentle touch with pointed tip behind upper teeth. The airstream is never interrupted. Passes during "l" on both sides of tounge and during '"a" over the tounge)
4. Da Ra Da Ra or Ta Ra Ta Ra (tounge moves as in "doughter", gives faster single tounge. Both "Da" and "Ta" as described earlier. The "Ra" with broad tip in roof
I had troubles to repeat "ta-ta-ta" or "da-da-da" when it is fast. It is easier for me to alternate like "da-ra-da-ra-da-ra". For me it's the same movement as in "doughter". To practice this also solved my "doo-dle" because I can slid in to that tounging easy from "da-ra".)
Multiple tounging
5. Ta-ka ta-ka (double - "Ta" as described earlier, the "ka" is dorsal with the back of the tounge)
6. Da-ga da-ga (double. "Da" as described earlier, the "ga" is dorsal with the back of the tounge but not as far back as the "ka" in "Ta-ka")
7. Da-dl Da-dl (double doodle - "Da" as described earlier and "dl" with tip of tounge behind upper teeth. Air passes first over the tounge and then during the "dl" it passes under on both sides of the tip of the tounge)
8. Ta-ta-ka Ta-ta-ka (tripple - "Ta" and " ka" as described earlier)
9. Da-da-ga Da-da-ga (tripple "Da" and " ga" as described earlier)
10 and 11. Ta-ka-ta Ka-ta-ka or Da-ga-da Ga-da-ga (double used as tripple - "Ta", "ka" and "Da","ga" as described earlier)
12. Ta-ka-ta Ta-ka-ta (tripple - "Ta" and "ka" as described earlier)
13. Da-ga-da Da-ga-da (tripple -"Da" and "ga" as described earlier)
14. Da-dl-a Da-dl-a (tripple doodle - "Da-dl" as described earlier and "la" same as in 3)
Side to side tounging ("snake tounge")
15. Loo-loo-loo-loo ("L" here isn't really a syllable in speach. Fully described here:
viewtopic.php?t=32085)
Other
One more articulation that I want mention, since I've listed everything else I ever known and use. This is my "no tounge articuation" and "curled tip of tounge up in roof articulation" It's done just with a slight change in the air stream, It's like a small dip in the stream between notes. I use it for my smoothest legato. The result is as close to a glissando as it gets, that's what I want, but not a glissando. Sometimes I help with a very gentle tuch of a curled tip of the tounge up in roof of the mouth, a strike so soft it can not be heard,. It helps for exemple in leaps, both smaller and larger leaps and I also use it sometimes when legato is a natural slur just for safety The smoothest is a mix of those two
16. hoOO-hoOO-hoOO-lhoOO-hoO (It is a very small dip in the airflow with or without help of glottis, thus the "ho". The "lho" is used occationally where help is needed. This combo of articulation for legato is something I've just started to discover and work at. I would love to be able to play as smooth as a string player does with his bow. I'm experimenting with this and see if I will get closer to that eventually).
A couple of things with legato I've noticed
1. With legato and leaps (where a natural slur is possible) is it helps if I aim "dark" if I come to a note from below and "bright" if I come to it from above. I'm not then thinking pitch though adjusting the slide position accordinly that way does help. I must still be in pich. I guess adjustments happen in my mouth/lips to still remain in pitch. For example think of a legato leap between
and
and a legato leap from
to
. In the first the B can be thought of as dark in sound and therefore the slide could be adjusted a couple out and in the opposite; the descending F from B can be thought of as bright and the F can then be adjusted with a couple of mm in. This is to smoothen the sound, notes must still be in pitch. I've noticed it helps for me to think like this.
2. When there is not a leap, and legato is not against the grain as is the case from F
in first position to D
. then I have noticed a quick move with the slide will suck some air. That airloss can be compensated with a little more air between notes when the slide moves. If the opposite from
to
then the slide will push some air which means a ittle less air is needed between those notes.
/Tom
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