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    191 views68 pages

    The Art of Doodul Tonguing For Trombone or Baritone

    Uploaded by

    trombontrombon

    Copyright:

    © All Rights Reserved
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    The Gt OF DOODUL TONGUING For Trombone (Baritone) By CURTIS FOX PO rl Kl abot © shah Cont © 186 by BEAM ME UP MUSIC, ‘UnCPIBELN NG, Aa FLD enti Cort Send Mabein USA. AI Re ant Hesiesess CONTENTS HOW TO DOODUL TONGUE 6 CHAPTER ONE: The Production Of The Doodul Tongue . CHAPTER TWO: Harmonitonguing CHAPTER THREE A: Diatonguing . CHAPTER THREE B: The Triple Doodul Tongue . CHAPTER FOUR: Combinations DOODUL WARM-UPS . ETUDES... HOW TO DOODUL TONGUE Use the syllables doo and dul for each successive note. To produce a prominent dul attack, the tip of the tongue must remain in contact with the gum behind the upper front teeth. With the tip of the tongue positioned properly, the back of the tongue should drop causing the sound. The dul syllable causes the air to be channeled around the sides of the tongue, not over the top. ‘The key for success results in successful execution of the dul syllable. A CUT-OUT PICTORIAL VIEW Figure 1a, Represents the Doo sylable in two stages, the beginning of the Doo, and the sustain of the Doo. Dut Fig. 1b Figure 1b. Represents the Dul syllable in its two stages. Notice the tongue stays attached, allowing the back and sides to drop, causing the air to travel around the sides of the tongue. “ Note the air passes around the sides of the tongue! PREPARATORY D.T.* EXERCISES |. Pronounce the following word studies slowly, then gradually speed torapid fire.** (Emphasize the dul syllable.) " 12, 13. 14. 15. 16. Execution of one word only! Doodul Doo, Doodul Doo, Doodul Doodul Doodul Doo. 4 Dohdul Doh, Dohdul Doh, Dohdul Dohdul Dohdul Doh. 4 Dahdul Dah, Dahdul Dah, Dahdul Dahdul Dahdul Dah. 4 Deedul Dee, Deedul Dee, Deedul Deedul Deedul Dee. 4 Execution of two word combinations Doodul, Dohdul, Doodul, Dohdul. 1 Doodul, Dahdul, Doodul, Dahdul. 1 Doodul, Deedul, Dohdul, Deedul. 4 Deedul, Dahdul, Deedul, Dahdul. 4 Dohdul, Dahdul, Dohdul, Dahdul. Execution of three word combinations Doodul, Dahdul, Doodul, Deedul. 4 Doodul, Dahdul, Doodul, Dohdul. 1 Deedul, Dohdul, Deedul, Dahdul. 4 Execution of four word combinations Doodul, Dohdul, Dahdul, Deedul. 4 Doodul, Deedul, Dohdul, Dahdul. 4 Doodul, Dahdul, Deedul, Dohdul. 4 Doodul, Dahdul, Dohdul, Deedul. 4 I. Pronounce word studies 1-16 while blowing air only through a mouthpiece. (Upon mastery add the buzz) * D.T. = Doodul Tongue ** Also construct your own combinations, SENSITIVITY OF THE ATTACK Attack the note by starting from the partial below. Feel for the break between the grace note and the quarter. CHAPTER ONE THE PRODUCTION OF THE DOODUL TONGUE The main objective of this section, is to develop the mechanics of the doodul tongue only. No shifts of the valve or slide are used. In developing the production of the doodul tongue two phases must be addressed. The first phase being the initiation of the D.T. (getting it started) and the second phase is the sustained repetition of the D.T. (keeping it going). GETTING STARTED 1. Start slowly, play at a dynamic of mf. 2, Concentrate on the Dul syllable, the tip of the tongue must remain in contact with the gum just above the upper teeth. 3. Use a slight breath accent to aid in the production of the dul syllable. Remember, in producing the dul sound, the air passes around the sides of the tongue. 4. Play the following examples. Example S doo dul mf a. ~ > se > 8 doo dul doo dul =» doo dul doo dul» doo dul doo dul » doo dul doo rE tft ep eo = = = ert ft SSS] FIRST STUDY The Attack a on doo dul doo dul doo dul doo dul ” doo dul vei (So ar ee: be psp ps beeing: bee: aes SE eae Ppt ar pap pt peer bg eg ep ppt SESS tose pea rates irae apie gee OEE = Bip. ope | In the first exercite, the sustained du! syllable, and the physical act of the tongue pressing against the gum actually strengthens the tongue muscles. 10 ETUDES ‘The following etudes are designed to strengthen the dul syllable. ® ceo tut — doo dul — doo dul simile pet @ wou soot daw aut sie @ soot doo du sdoo dut_—_siile ‘ A A doo dul doo dul Before proceeding to Etude #5, strive to “snap” the dul syllable. Be sure to make the tip of the tongue “stick” on the dul syllable. =i ® — ceoeat coos SSS SECOND STUDY Attack and Repetition a 7 OO simile. pe by 2 LEP eee epee? ] doo dul doo dul. doo dul doo dul doo dul doo dul doo dul doo dul doo dul doo dul apa prema ity DO NOT proceed to THIRD STUDY until the player has mastered studies one and two. THIRD STUDY Sustained Repetition ‘On the sustained eighths and sixteenths do not allow the du syllable to be swallowed. Accent all dul syllables > > > ® doo dul doo dul doo dul doo dul doo dul simile + = rey > pees pee peer e cess | Sf eee f apfi-f ti tt teeee eer teeeeere Hy eb, fperes Mesreeere SSP ittt tesrecere PELRPEEEP cepretere ceerP ese e eg Af pte pe (e— pags tt ttt FSS 5] ss ETUDES 4 (observe dynamics) mf ee teeaty eee CHAPTER TWO HARMONITONGUING Harmonitonguing places emphasis on maintaining a sustained repetition of the D.T., while the player simultaneously executes a shift in the harmonic series (playing across the “breaks.”) No change in valve or slide position is used. SUGGESTIONS: Keep pressure on the embouchure minimal. Be sure the embouchure performs in the same manner as in executing lip slurs. Keep the doodul tongue prominent and strive for a strong dul syllable. Start slowly and accelerate gradually. doo dul doo dul Se | (Play the following examples:) 3S continue, play in all 7 positions. FOURTH STUDY “Fours” Fours = The Doodul tonguing of notes grouped in four, while simultaneously playing across the harmonic breaks, or overtones. Strive to execute with clarity ® Sept oe pee a a pet bre ppg RANGE BUILDER @ ee b e ee a g pp poet rt, pee pa wees FW =e eee: 3 eg ep ES tre > 2 3 a bo ttf ; il) 18 FIFTH STUDY The Broken Doodul The “Broken Doodul” is simply a variation of the “Fours” pattern. The repetition of the doodul tongue is still played exclusively across the harmonic breaks of the horn (refer to the examples below). Note the change of overtone between each of the sub-divisions (both ascending and descending). NOTE: Play each pattern as many times as possible in ONE BREATH. doo dul doo dul doo dul doo dul doo dul doo dul a : or fe f Gin eh Anan eee : — doo dul doo dul pe efp be pee oe ETUDES ‘The main objective of these etudes is to build the strength of the dul attack in both the ascending and descending motion teierdierigpoetierctoreterrs Play number 23 With patterns b. and c., also. Be sure to accent all dul attacks with the breath. Start slowly. simile ® staat er eteze soft pete 2S SS = ft etre = % et ft ft pe Oper teeters Ty fief feet treet BROKEN DOODUL COMBINATIONS SoeeeFEttE mee F EEEE wpe tithiers Pitt ee PEEP Combine broken doodul patterns together. seep ebb ters jet co Ht £ = =| —_- ae” wp tele tote ger ttt rests spe teotreet — , SFI fe peeteee,e f ort iet het teri tee ieee ett te paasassegrosit =| or fitter Play using pattern c., also. ttte =f sect iter SEE f orp teres Teer SEEr rie ETUDE Range Builder perf coet ie SE erga ber SE ogee eerie £ a diferent pattern each day. Play using patterns a.,b., d. and e. Also pict SIXTH STUDY The Paradoodul ‘The Paradoodul is based on the drum rudiment paradiddle, in which the percussionist uses the right/eft sticki ReLeReR - LeReLeL (to develop speed the player must utilize a double bounce in playing the ReR and LeL stickings). Similar in manner to the paradiddle, the paradoodul uses alternating harmonic overtones while maintaining a sustained repetitive doodul tongue. The repeated note alternates between the higher and lower partial (See examples below.) ‘a, 400 dul doo dul doo dul doo dul doo dul doo dul doo dul doo dul be ft pe feo wh, RL RR LR LL = (aradiddley doo dul doo dul doo dul doo dul doo du! doo dul doo dul doo dul doo dul doo dul doo dul doo dul aepitpe te ptr The Triple Paradoodul Play the next series of exercises as many times as can be played in one breath. Start slowly, gradually gain speed After the exercises become comfortable, play entire exercise without repeats. (Slow to fast to slow) —— SoeierieeP tarts Exercises 31-33 should be played as a reverse paradoodul, also. (See following example.) Fre t" iter ttt. eer rip teter eer fe fry in i | eet teppei Lette aetet Pate te ee | f+. is be fee HYPER-EXTENDED PARADOODULS EP. The slide position is changed every two notes in conjunction with the paradoodul. Start slowly ~ lock in the pitch, Of | 5 6 7 eos eg as ee Pr othe petite tre te pfs - 7 22 #1 «4 jae - te Ht * te pti tae te te te DF 2 Et EXTENDED QUADRA PARADOODULS E.Q.P. - While simultaneously maintaining the doodul tongue (paradoodul), change slide position for each successive note. 1 eee ee ? be. 7 @ doo dul doo dul doo dul doo dul doo dul o 28 CHAPTER THREE A DIATONGUING Using the skills acquired in the first two chapters, the player is now ready to proceed to doodul tonguing over diatonic scales and melodies (Diatonguing). Using the concept of “Four's * Two's # One's,” the trombonist will strive to incorporate the doodul tongue into the playing of scales. (See examples below.) A very smooth and quick slide is ‘mandatory. >———— ‘tour's ————_ -—"1woss — ->— ‘ont's* doo dul doo dul doo dul doo dul doo dul doo dul doo dul doo dul Play the following exercise, start slowly using “Four’s, Two’s and One's.” 00 dul doo dul simile See es peerpineereeer tier eeer eet Dr CE doo dul doo dul_ simile eee SEVENTH STUDY © Four’s » Two's * One's * Using the concept of “Four’s, Two's and One’s,” play the following scale exercise. Slide motion must be ultra fast. Seprceer COSPecerierer eepriepertterieetrertrip— 29 5 1 5 1 154 Secret eee Ser ere eee orree treet 5y tester ft trees reer titer ? 5H treetert #F _ eee 55 Dh Sah fe *Ifno f attachment try to “fake” it out. doo dul doo dul doo doo dul doo dul doo: doo dul doo dul doo dul doo dul doo dul doo dul doo p leptr r depres pire Se eee SS EEE eer et : oe - sb ELE Peete ffeeee eee Cee eet a= ou Retterrropereeeet Ettreret Etter @ —_ Werk orspoed by “BROKEN THIRDS” feet eo,ee S - FF —— f fof teeters, PEDAL POINT by c et be Sue Litt iteeteeet ieeefrpe ree eee eee os Pay wing te fllowingpatens ho, bP =e @ Oepeeet Corr reLir el ef reer Ofer PEP EER 1 @® roe cntite Sere Hooter | ETUDE Diatonic Scales opfipiett test fatete e phe fot pl tbebe rf DEE Sere ige=-==40 fet = 6564 36 ETUDE . Sees Sa ee pes Sspettreett ter eee tory ee tee — op tlie ett rll eet tte ttre ee, ot ate fe mpi E etter fretetre ti fbr tr lier tec re| DIATONIC SCALES Major ao eee! set: fetes Pe ppititrr peer er el pet Eiey cust ae ttre y HARMONIC MINOR SCALES ‘Also play in pure and melodic forms. @) harmonic min. oeperce Ete | pete tt the » ftthee , f¢ opi betiter eet iter eee e harmonic min. ehe ft pref ttrreerp te Eee Seer ttereeptttr rier eee =f pettiter eset tt tree @) eb harmonic min. Dip Sy eee eseees eof | @) d harmonic min reete f ri - op tiiet itt rors p etree clet @) ct harmonic min. She. : Pree 4 senate tee ter et terres Coericeer @) b harmonic min. opp Oost eee eel harmonic min, pele oe opi ithittr eptrtter epee tere tee @® abharmonic min. eetet ee oigpetti eter ecr titre eeet tft h Titer Dihy, _— — 42 ep EIGHTH STUDY Chromatic Velocity This exercise is designed to increase both the speed of the slide and the doodul tongue. Be sure to play part a. two times, and part b. as many times as possible in one breath. doo dul doo dul doo dul doo dul doo 5 1 ——__ 5 bo 5 CHAPTER THREE B THE TRIPLE DOODUL TONGUE In developing the triple doodul tongue, (T.D.1,) the player should approach the subject similarly as in chapter ‘one. With the addition of the third attack, a different syllable (lah) must be used for the third note. 00 dul tah CLer J=120 2S by PE eee tpt eee Strive for a prominent production and an evenness to the triplet. Start slowly, use a breath accent to aid the production of the Jah syllable. LL PEt ieee er Gee SoS SEE ee eerie > > > > > fo0 dul lh doo doo dl ah doo oo dah doo dl ah doo du lh doo sine > opp Ce oe Cee Oe Premera SELF Ste SEARLS Cer ere cep Serres SEEPS corr ASS cere cere Serre eererrer SESS SSR @ Di adee— e Fie ree ee oeeereeet ere tere ey 46 doo dul lah doo dul tah simile popae be opti tr pee = pepe ebheere ners ——y'cer Oh eee Otters ere pp : ape ter — ee | Sprit eer eee petett tere irre | DELI peStee ieee te 1 6 2 ae =e eS a @® oe etttterprerece bE Pitter te tthe ew oettatt bee pip tp Sere ee = i 1% fe att rer fee jth cere tee po CHROMATICS gs to on dl i po simile Se ele ter ie ee See SEP pe pee 4 ee by oo by be by pete tele p bp tee pie pte ee ee 5 2 by by = corte chpbe-os = beter tebe — pep bp be. y tip titte o ppt tle tp a ees pie : be 2 Bo: other icp EE pe othe tere _ceetriee eye eile _ at tt ‘ere ate oe ob ofttte EXTRA Speed Drill Start slowly - accelerando. 7 Og pestle eptecies ttt theory Tal | TRIPLET DIATONICS 6 don dul ah doo du ah doo dl th doo oresenesPe perce cote fr Lertter o Rieter tee Epp tsiet tee ttre oe Geter Serer ete orl ee: I DD scot co at oh dol a jon _ site SBS ee Ler ieeprerteeeereerter a beer eet aes rep ter tett f LEPEre fF = pe fbfitttrte “tei teteere terre r rine seer eLE Ete creer peeet ett SSL eee eee S| TRIPLET HARMONICS doo dul lah doo simile £ aeget fps : sire Ete : ee Etre . bef b vagt gly guage tere es 3 o 6 6 6 6 DOUBLE TO TRIPLE DOODUL @, Dee bee 6 6 Ei tier eee. petite rrheeese ett te 7 = = 32 BROKEN TRIPLE DOODULS @ ::;; orpiei oot pee fepirefeet orttpieriert peteetre tes SS Ge Seog pterterieets eet retertes otetreterte—feriee test = spetetes fetter ope Play using the following patterns, also. eee tbe 2 ——— ©, fetter tt : ete ot Sap oo SPE Peer bere ere SaR EP ee ele toeeter tr tert taper et eter: orerteteyr seteheer opie Beye # {te eter etere at ef cfekete THE TRIPLE PARADOODUL GB oct ah doo dl a do dl ah eo dl ah oops coe Che Et rictretetes I TRIPLE PARADOODUL RANGE BUILDER Tips for success ~ keep mouthpiece pressure minimal, play at a mp dynamic, keep “corners” in toward the chin and let the air do the work. doo dul lah doo dul lah simile st pape ts peehreeret pipette Lee 55 CHAPTER FOUR COMBINATIONS The intent of this chapter is to combine the elements of the first three chapters and incorporate them into unified exercises; in short: combinations. @ NINTH STUDY Chromatic/Harmonic b ® so 56 BROKEN/CHROMATIC/HARMONIC @ Start slowly be eft be rs f {+ = bee fie = at hee oetttrcttrrintriet center ter tipeteiee— Seeteuie tere tow ete etree preter Diatonic/Harmonic ®@: — epctteteretirecir re er eperer ire gy © ¥ oe opel eee rete Peet Er eet i tte eit Spt et fr np itepie mee etter, be tf Diatonic/Chromatic/Harmonic Paradoodul/Chromatic G) Play 3times Sibiertet tose iett cter tree yn ETUDE ‘Chromatic/Harmonic ef itet ET sieeh : , oe fters 59 TENTH STUDY Perpetual Motion The following exercises give an illusion of perpetual motion as they are played. There is very little change in direction of the slide. See the following examples of chromatic perpetual motion (CPM) and harmonic perpetual motion (HPM) also known as “musical loops.” yn Fett Saget ftrriettl Tpit Ete erie “Chromatic Loops” GB BMorvemesioone breath) 60 Chromatic Loops @ °—3 2-5 Seeger OED ey re te cortege CEO ppp ear tbentint a tet by -ftsiplet ey eo inigirle Harmonic Loops Harmonic/Chromatic Loop There exercises can be played in jazz style, also. (42= 15) ®@ tebe, e eo etebe tebee, spree Erin nt PE inte nt EP Eel EP Eee bee pete it ties pee et tein =—— b | Mtl

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