Triple Tonguing for Bassoon. Practice methods and literature. By Terry B. Ewell. BDP#191. 2reed.net/bdp.

大管的三吐法. 由泰瑞·B·尤厄爾（Terry B. Ewell）所撰

I notice that many bassoon performers limit their tonguing techniques to just two options: single tonguing and double tonguing.

1.    我注意到许多大管演奏者将他们的吐音技术限制在两种选择：单吐和双吐。

The single tonguing stroke starts with the tongue on the reed and then releases, allow the reed to vibrate. I represent that stroke with the “T” consonant The “K” consonant in the double tongue stroke starts with the tongue at the roof of the mouth. It then releases. I have developed several videos and practice materials presenting double tonguing (BDP 18, 19, 20). These are the links for the Youtube videos:

2.    单吐接觸从簧片上的簧片开始，然后松开，让簧片振动。我用“T”子音来表示这个動作双吐動作中的“K” 子音从嘴顶部的舌头开始。然后讓它释放。我制作了几个视频和练习材料来介绍双吐（BDP 18、19、20）。这些是 Youtube 视频的链接。

#20 Multiple Tonguing 3: Practice Exercises for Double Tonguing http://www.youtube.com/watch?v=XsHy-ook53U  

#19 Multiple Tonguing 2: Practice Methods for Double http://www.youtube.com/watch?v=5eZcVTjPIjk  

#18 Multiple Tonguing 1: Principles of Double Tonguing http://www.youtube.com/watch?v=brctqgjHKZc  

Practice exercises are available on the Bassoon Digital Professor website: www.2reed.net/bdp. Although many bassoonists use only the single or double tonguing techniques, this is not the case with many of our colleagues who perform other wind instruments. Flute and brass instrument players commonly use single, double, and triple tonguing. I regularly employ even another technique: mixed or combination tonguing. Figure mixed tonguing My videos on the excerpt from Beethoven’s Fourth Symphony presents that tonguing pattern (BDP# 78-80)

3.    练习可在數位大管教授网站上找到：www.2reed.net/bdp。尽管许多大管演奏者只使用单吐或双吐技术，但我们的许多演奏其他管乐器的同事并非 如此。长笛和铜管乐器演奏者通常使用单吐、双吐和三吐。我经常使用另一种技术：混合或组合吐舌。混合吐舌我的贝多芬第四交响曲节选视频展示了这种舌音模式 (BDP# 78-80)

#78 http://youtu.be/0GBi8uR4ZeM

#79 http://youtu.be/ZJa-Qpsm31s

#80 http://youtu.be/bmpsEQiXUY0  

You may be asking, “Why go to the trouble of learning different tonguing patterns?” Well, I think that having the right tool for the appropriate job is important. Single, double, mixed, and triple tonguing all sound different and have varied strengths. Matching the best tonguing pattern to the musical passage makes sense. Spending time mastering the different tonguing patterns will give you more options and better results. The study of double, mixed, and triple tonguing will take months or even years, but the effort will be worth it.

4.    你可能会问，“为什么要费力学习不同的吐音模式？”好吧，我认为拥有适合工作的正确工具很重要。单吐、双吐、混合吐和三吐都不 同，并且具有不同的强度。将最佳吐音模式与音乐段落相匹配是有意义的。花时间掌握不同的吐音模式会给你更多的选择和更好的结果。双吐、混合吐和三吐的研究 需要几个月甚至几年的时间，但付出的努力是值得的。

There are several musical passages with triplets that sound better with triple tonguing. I know that many respected performers and teachers have advocated for using double tonguing over the triplet pattern, but to my ears it does not match well in articulation. With few exceptions, I use triple tonguing for the fast triplet passages. Let's  start with examining a few exercises for triple tonguing.

5.    有几个带有三连音的音乐段落在使用三吐时听起来更好。我知道许多受人尊敬的表演者和老师都主张在三连音模式上使用双吐，但在我看来，它在发音方面并不匹 配。除了少数例外，我在快速的三连音段落中使用三吐。让我们从检查一些关于三吐的练习开始。

All of these exercises and the excerpts mentioned in the video are available on 2reed.net under the triple tonguing section. Here is the link. www.2reed.net/bdp/#triple There are two patterns for triple tonguing. TKT TKT and TTK TTK. The "T" indicates the tongue releasing from direct contact with the reed. The "K" indicates the tongue touching the roof of the mouth with either a "k" consonant or something similar. I only use the first pattern.  I haven't yet seen the need to practice the second method of triple tonguing, but there might be instances where this tonguing pattern works the best.

6.    所有这些练习和视频中提到的摘录都可以在 2reed.net 上的三吐部分下找到。链接在这里。 www.2reed.net/bdp/#triple 三吐有两种模式。 TKT TKT 和 TTK TTK。 “T”表示舌头从与簧片的直接接触中释放出来。 “K”表示舌头接触口腔顶部，带有“k”子音或类似的东西。我只使用第一种模式。我还没有看到需要练习 第二个三吐，但在某些情况下，这种吐法可能效果最好。

All of the tonguing patterns using "K" consonants are best when tongued as lightly and legato as possible. Practice slowly by tonguing lightly and fluidly. Keep the tone going as long as possible with just a quick interruption of the sound. In general, you will need to pull out the reed slightly and give more air for the best tonguing. Using all of these techniques will allow for quickest increases in speed and fluency. As is the case with practicing all methods of tonguing, the use of sprints is indispensable.

7.    所有使用“K”子音的吐音模式在吐音時尽可能轻和连音时是最好的。轻柔流畅地用舌头慢慢练习。只需快速中断声音，就可以尽可能长 时间地保持音调。一般来说，您需要稍微拉出簧片并提供更多空气以获得最佳吐音。使用所有这些技巧可以最快地提高速度和流畅度。就像练习所有的吐舌方法一 样，衝刺(快速氣流)的使用是必不可少的。

Sprints are a method of practice where you drive, push the tempo to the last note. Aim for slight increases in speed at each repetition. When the point of failure is reached, reduce the tempo and finish with perfect sets.

8.      冲刺是一种练习方法，您可以在其中像是开车一樣，将速度推到最后一个音符。力求在每次重复时略微提高速度。当达到失败点时，降低节奏并以完美的组合结束。

Several excerpts are provided in the practice materials. I suggest that you practice first each on a single tone, a monotone. Isolate and master the tonguing patterns first and then add the fingers.

9.    练习材料中提供了一些摘录。我建议你先练习每个单音。先分离和掌握吐音型態，然后再添加手指。

One of the most challenging solos with triple tonguing is in Weber's Andante and Hungarian Rondo. Please see the video devoted to the Rondo movement for my comments on the articulation at the end of the movement. 

10.      韦伯的行板和匈牙利回旋曲中最具挑战性的三吐音法之一。请参阅关于 Rondo 的视频，了解我对此曲结束时的吐音方法的评论。

Copyright (c) 2016 by Terry B. Ewell. All rights reserved.