Chase Sanborn is an engaging modern jazz trumpet voice with a warm, inviting tone, fluid lyrical phrasing, and a style that always swings. He exhibits the cultivated sensibility of a player at the peak of his powers.
Music Business Tactics is an easy and enjoyable read that provides sound, practical advice. If you are an aspiring musician, or you know one, get this book! You need this information!
Chase Sanborn goes right to the heart and soul of the music. His performance was an inspiration to hundreds of festival participants, and his positive and upbeat outlook made a lasting impact on our students
Jazz Tactics presents the material in such a clear and simple way, with the vitality and spirit of a live teaching session. This method speaks to all musicians, regardless of age and previous experience.
Chase addresses the needs of developing musicians in a manner that is understandable and relevant. My students were thrilled to work with someone who understands their learning curve.
Tuning Tactics teaches you to listen. In just a short time, I've witnessed strong improvement in my students' awareness. Tuning Tactics makes good intonation attainable for all!
Chase Sanborn has a natural gift for engaging and involving an audience. He shares a wealth of honest and knowledgeable information about music and the music business.
Brass Tactics offeres authoritative instruction balanced with sage and homely advice. It shows you how to handle yourself in any professional or amateur situation. No trumpet player should be without this book!

Multiple Tonguing

Multiple tonguing is a technique that facilitates rapid articulation. When you pronounce the syllable ‘t’ or ‘d’, the tip of your tongue contacts the roof of your mouth, and then pulls back to release the air. This produces a well-defined attack, but there are limits to how many times per second the tongue can strike in this fashion. To increase tonguing speed, we add a ‘k’ or ‘g’ (as in ‘girl’) syllable. The back of the tongue produces these syllables. By alternating back-of-the-tongue syllables with tongue-tip syllables you can increase speed dramatically. (tu-ku-tu-ku / du-gu-du-gu or tu-tu-ku, tu-tu-ku / du-du-gu du-du-gu). Whisper the words ‘kitty, kitty, kitty’ to experience the feeling of double tonguing.

Du-gu produces a softer or more legato attack then tu-ku. The musical setting as well as the personal style of the player determines which is more appropriate. Raphael Mendez articulates sharply and percussively; Wynton Marsalis’ articulation is softer and smoother.

The key to effective multiple tonguing is matching the back-of-the-tongue syllables to the tip-of-the-tongue syllables. Ideally, they should sound exactly the same. Start slowly, quarter notes followed by quarter rests, alternating syllables. (tu-rest-ku-rest.) At first the back-of-the-tongue syllables may be harsher and less defined. You may have difficulty getting the vibrations of the lips to speak right away. Some attacks will be completely botched. Don’t dismay, this is normal! Stay on one note initially; when you eventually incorporate changing notes make sure the valves/slide and tongue are precisely coordinated.

Set the metronome at the slowest tempo and increase speed slowly, one or two notches at a time. This may seem counter-intuitive since multiple tonguing is associated with fast playing. But slow, careful practice ultimately yields the quickest improvement. It also helps you avoid the trap of having a tempo range that is too fast for single but too slow for multiple tonguing.

Even if you have no plans to ever perform The Carnival of Venice, developing your multiple tongue leads to an overall feeling of confidence and competence which will shine through in all styles.

Leave a Reply