What is double tonguing on the clarinet? Double tonguing on the clarinet is alternating “ta” and “ka” syllables so the front and back of the tongue share the work in rapid passages. Start by saying “ta-ka” slowly, then practice on a single note at 60 BPM, and finally apply the pattern to scales and repertoire.
What is double tonguing?
Double tonguing is an articulation technique where the clarinetist alternates two tongue strokes, usually thought of as “ta-ka” or “da-ga,” to play fast repeated notes that are too rapid for single tonguing alone. The front stroke uses the tongue tip, while the back stroke uses the mid or back of the tongue near the soft palate.
On clarinet, double tonguing is less common than on flute or brass, but it is valuable for advanced passages, especially in Classical and Romantic repertoire. The goal is to make “ta” and “ka” sound identical in tone, volume, and timing so listeners cannot hear where one syllable ends and the other begins.
Most players need 4-8 weeks of daily work (10-15 minutes per day) to reach a clean, even double tongue at quarter note = 120 BPM in sixteenth notes.
In practice, double tonguing is built in layers: off-instrument syllables, mouthpiece or mouthpiece-plus-barrel work, sustained single-note drills, then scales and real excerpts. Each layer reinforces even tongue motion, steady air, and a relaxed embouchure so speed can grow without tension.
Why double tonguing matters for clarinetists
Double tonguing matters because single tonguing has a speed ceiling. Many clarinetists top out around sixteenth notes at quarter note = 120 to 132 BPM before clarity breaks down. Double tonguing lets you exceed that limit while keeping clean attacks and steady tone in technically demanding passages.
Repertoire by Carl Maria von Weber, Franz Krommer, and later virtuoso composers often includes long strings of articulated notes. In fast tempos, trying to single tongue everything can cause fatigue, uneven rhythm, and a choppy sound. Double tonguing distributes the work so the tongue stays agile and less strained.
For orchestral and solo players, a reliable double tongue expands interpretive choices. You can choose whether to single or double tongue based on color, not just speed. In historical performance practice, it also lets you approximate articulation styles described in 18th and early 19th century treatises for wind instruments.
A practical target: 16th notes at quarter note = 144 BPM using double tonguing on a single note, with less than 10 cents pitch fluctuation and consistent dynamic.
Double tonguing also sharpens your single tonguing. The careful work on air support, tongue efficiency, and embouchure stability often leads to a cleaner, more resonant attack in all articulation, even at moderate tempos where you never use “ta-ka” patterns.
Embouchure, breathing, and airflow foundations
Double tonguing only works if your embouchure and air are stable. Think of the tongue as a valve moving inside a steady airstream, not as the engine that creates the sound. The lips and jaw should form a relaxed but firm seal around the mouthpiece, with the chin flat and the corners of the mouth gently drawn in.
Use diaphragmatic breathing: inhale silently through the mouth, expanding the ribs and lower abdomen, then exhale with a constant, supported stream. When you add “ta-ka,” the air should feel like one long exhale. The tongue interrupts the air briefly but never stops the support from the torso.
Before any double-tongue work, play long tones for 3 to 5 minutes. Start on open G, then move down to low E and up to clarion A. Aim for stable pitch, no wobble at the start of each note, and a comfortable mezzo-forte. This stabilizes the embouchure so the tongue can move freely.
Daily foundation: 3-5 minutes of long tones + 3 minutes of single tonguing before 10-15 minutes of double-tonguing work yields better results than 20+ minutes of articulation alone.
Check your embouchure in a mirror. Watch for puffed cheeks, a collapsing chin, or biting on the reed. Any of these will magnify problems when you add fast tongue motion. A balanced setup lets the reed vibrate freely so the tongue can touch lightly without choking the sound.
The mechanics: ‘ta' (front) vs ‘ka' (back) – tongue placement and anatomy
The “ta” stroke uses the tip of the tongue touching near the tip of the reed. Many players think of touching where the reed and mouthpiece meet, but in reality the contact point is often 1 to 2 millimeters below that. The motion is tiny and forward, like saying “t” in “too” with almost no jaw movement.
The “ka” stroke uses the mid or back of the tongue against the soft palate, similar to the “k” in “sky” or “echo.” Inside the mouth, this contact happens several millimeters behind the “ta” point, closer to where you would feel a gentle gag reflex, but much lighter and more forward than an actual swallow.
Imagine a side-view diagram: the tongue tip hovers just behind the reed tip, while the middle of the tongue arches up toward the soft palate. During “ta,” the tip briefly touches the reed. During “ka,” the mid-tongue briefly touches the soft palate while the tip stays relaxed and low, ready for the next “ta.”
Keep the tongue as relaxed and shallow as possible. Large, vertical motions create noise and tension. Aim for a horizontal, gliding feeling: “ta-ka-ta-ka” where the tongue rocks slightly front-to-back rather than lifting up and down. The soft palate should stay gently raised, as in a yawn, to keep the throat open and the sound resonant.
Some players prefer “da-ga” instead of “ta-ka” because it softens the attack. Experiment off the instrument: say “ta-ka,” then “da-ga,” and notice which set feels smoother and more sustainable. You can keep the same tongue positions but adjust the consonant color to suit the style and dynamic.
Beginner step-by-step routine (say, mouthpiece/barrel, single note)
Start away from the clarinet. Sit or stand tall and simply say “ta-ka” in a slow, even rhythm. Aim for 2 syllables per beat at 60 BPM, then 4 per beat when it feels easy. Focus on keeping both syllables equal in volume and length, with no accent on either “ta” or “ka.”
Next, place the mouthpiece (or mouthpiece plus barrel) in your mouth with a normal embouchure. Blow a steady airstream and whisper the motion of “ta-ka” without actually sounding the reed. Feel the tongue touching the reed tip for “ta” and the soft palate area for “ka” while the air stays constant.
Then let the reed vibrate. On mouthpiece or mouthpiece-plus-barrel, play a continuous sound while articulating “ta-ka” slowly. Do not worry about pitch; focus on evenness and a smooth, legato connection between strokes. Stop if the sound cuts out or the jaw starts to tighten.
Move to the full clarinet on a single note, usually open G or throat A. Play a long note and introduce “ta-ka” at 2 syllables per beat at 60 BPM. Keep the dynamic at mezzo-piano or mezzo-forte so you can feel the air staying steady. Aim for 8 to 12 beats of continuous, even articulation.
Once that feels stable, reverse the pattern: start with “ka-ta” instead of “ta-ka.” This strengthens the back stroke and prevents it from becoming dependent on the front stroke. Alternate short bursts: 2 beats of “ta-ka,” 2 beats of “ka-ta,” always on the same note with a steady tone.
Metronome-based exercises and measurable progress (start at 60 BPM)
Use the metronome from the very beginning. At 60 BPM, play a single note and articulate “ta-ka” as 2 notes per beat (eighth notes). When you can play 16 clean beats in a row without fatigue or unevenness, move to 4 notes per beat (sixteenth notes) at the same tempo.
Track your progress in a practice journal. Write down the date, tempo, subdivision, and how many beats you can sustain cleanly. Only increase the tempo by 4 to 6 BPM when you can play at least 2 full measures (8 beats) of sixteenth notes with no obvious accents, dropouts, or pitch sag.
Here is a simple progression on open G using sixteenth notes: 60, 66, 72, 80, 88, 96, 104, 112, 120 BPM. Stay at each tempo for several days if needed. Your benchmark is not speed alone, but even sound and relaxed muscles. If tension appears, drop back one or two steps.
Alternate between “ta-ka” and “ka-ta” patterns every few beats. For example, at 72 BPM, play 2 beats of “ta-ka,” 2 beats of “ka-ta,” then rest 2 beats. Repeat this cycle 4 times. This keeps both strokes honest and prevents the “ka” from lagging behind as tempo increases.
Once you reach sixteenth notes at quarter note = 100 to 112 BPM on a single note, start using two-note patterns (for example, G-A or A-B) while keeping the same “ta-ka” pattern. This adds finger coordination without sacrificing the metronome-based clarity you have built.
Scales, repertoire integration, and sample practice plans
After single-note control, apply double tonguing to scales. Start with one-octave major scales in the middle register, such as G major and F major. Use a simple rhythm: continuous sixteenth notes at 72 to 88 BPM, ascending and descending, with “ta-ka” throughout. Keep the dynamic moderate and the fingers close to the keys.
Next, alternate single and double tonguing within the same scale. For example, tongue the first 2 notes with single “ta,” then the next 4 with “ta-ka,” then back to single. This teaches you to switch techniques smoothly, a skill you will need in real repertoire where only certain passages demand double tonguing.
Integrate short excerpts from Weber concertos or concert pieces that feature rapid articulated figures. Choose 1 or 2 measures and practice them first with rhythmic grouping (for example, 3+3+2) using single tonguing. Then, once the fingers are secure, overlay the “ta-ka” pattern at a slower tempo before approaching performance speed.
Here is a 4-week sample plan for an intermediate player:
Week 1: 5 minutes long tones, 5 minutes single tonguing, 10 minutes double tonguing on a single note (60-80 BPM).
Week 2: Add simple two-note patterns and one-octave scales (72-96 BPM) with “ta-ka.”
Week 3: Begin short repertoire fragments at slow tempos, alternating single and double tonguing.
Week 4: Extend to full phrases, aiming for 16th notes at 112-120 BPM with even sound.
Advanced players can adapt this plan by starting at higher tempos and using full-range scales, arpeggios, and etudes by composers like Baermann or Rose. Always keep the same principle: fingers first, then articulation; clarity before speed; musical phrasing even in technical drills.
Historical context: ‘d'Articulation Double' and stylistic uses (Weber, Krommer)
Historical sources from the late 18th and early 19th centuries refer to double articulation using terms like “d'Articulation Double” or descriptions of alternating tongue strokes. While much of the detailed discussion comes from flute and brass treatises, the concepts influenced clarinet playing in Classical centers such as Vienna and Paris.
Composers like Franz Krommer and Carl Maria von Weber wrote clarinet parts that assume a high level of articulation agility. In fast, repeated-note passages, especially in concertos and chamber works, performers in those eras likely used some form of alternating tongue strokes to maintain clarity at brisk tempos.
When preparing Classical repertoire, consult period editions or facsimiles when possible. Articulation markings, slurs, and staccato dots can hint at where a historical player might have used double articulation to match the light, speech-like style described by theorists such as Johann Georg Tromlitz and others in related wind traditions.
In historically informed performance, double tonguing should not create a harsh or percussive effect. Instead, aim for a light, elegant “da-ga” character that fits Classical rhetoric. The goal is to support the musical line and dance-like rhythms, not to show off speed for its own sake.
Field Note (Martin Freres Archives): Archival clarinet methods and annotated parts associated with historical Martin Freres instruments show careful attention to articulation markings in 19th century French repertoire. While they rarely name “double tonguing” directly, the density of repeated notes and written instructions for “articulation nette” suggest that advanced players likely used alternating tongue strokes in demanding passages.
Modern clarinetists can draw on this context to make informed choices. Use double tonguing when it helps you realize a historically appropriate lightness and clarity, but always listen for musical phrasing and avoid a machine-gun effect that would sound out of place in Classical style.
Common problems and troubleshooting (uneven ‘ka', loss of air, tension)
Many players find that the “ka” syllable sounds weaker, later, or noisier than “ta.” To fix this, practice isolated “ka-ka-ka” patterns off the instrument, then on mouthpiece-only, then on a single note. Use a slow metronome (60 BPM) and aim for 2, then 4, then 8 “ka” strokes per beat with even sound.
If the air stops or the sound breaks between syllables, return to long tones. Play a sustained note for 8 beats, then add very light “ghost” articulations where the tongue barely touches the reed. Gradually increase contact until you reach normal “ta-ka” strokes without losing the feeling of one continuous exhale.
Tension in the jaw, throat, or tongue is another common issue. Signs include jaw pain, a pinched tone, or feeling out of breath quickly. Shorten your double-tonguing sessions to 2-3 minute blocks with rests. During rests, shake out the jaw, roll the shoulders, and take a few relaxed breaths to reset.
Use a simple checklist:
Symptom: “ka” too soft. Remedy: isolated “ka” drills, start phrases with “ka-ta” instead of “ta-ka.”
Symptom: uneven rhythm. Remedy: metronome at 60 BPM, clap or tap “ta-ka” patterns before playing.
Symptom: air disruption. Remedy: 3 minutes of long tones, then add very light articulations.
Symptom: tongue fatigue. Remedy: reduce total double-tongue time and add rest days.
Recording yourself is invaluable. Short, 30-second clips of single-note drills or scale fragments will reveal bumps, accents, or noise that you might not notice while playing. Compare recordings week to week to confirm that your “ka” is catching up in strength and timing.
Maintenance of technique: warm-ups, embouchure checks, and practice hygiene
To maintain double-tonguing skills, build a simple daily routine. Start with 3-5 minutes of long tones, then 3 minutes of single tonguing on open G at 60 BPM: 1 note per beat, then 2, then 4. Only after this foundation should you spend 8-12 minutes on double-tonguing drills.
Once or twice a week, practice in front of a mirror to check embouchure and body alignment. Look for a stable head position, relaxed shoulders, and a flat chin. Any visible strain will eventually show up as uneven articulation. Small posture corrections can make the tongue feel freer and more efficient.
Schedule at least one lighter articulation day per week, especially during intense performance periods. On that day, keep double-tonguing work to 5 minutes or skip it entirely, focusing instead on legato, phrasing, and tone. This prevents chronic tongue fatigue and keeps the technique fresh.
Good practice hygiene also means clear goals. Before each session, choose 2 or 3 specific tasks, such as “single note at 96 BPM,” “G major scale at 80 BPM,” and “Weber excerpt at 72 BPM.” Stop when those are achieved rather than mindlessly repeating fast patterns that degrade over time.
Over months and years, this consistent, measured approach turns double tonguing from a special trick into a normal part of your articulation toolkit. You will be able to call on it whenever the music demands speed and clarity, without needing a long re-learning period.
Key takeaways
Double tonguing on clarinet uses alternating “ta” and “ka” strokes so the front and back of the tongue share rapid articulation work.
Stable embouchure and steady air are non-negotiable foundations; treat the tongue as a valve inside one continuous airstream.
Build skill step by step: off-instrument syllables, mouthpiece work, single-note drills at 60 BPM, then scales and excerpts.
Use the metronome and a practice journal to track clear benchmarks, not just maximum speed.
Address common problems with targeted fixes: isolate “ka,” reset air with long tones, and manage tension with short, focused sessions.
Historical context from Classical repertoire suggests tasteful, light double articulation can support stylistic clarity in composers like Weber and Krommer.
FAQ
What is double tonguing?
Double tonguing is an articulation technique that alternates two tongue strokes, usually thought of as “ta-ka” or “da-ga,” so the front and back of the tongue share the work. On clarinet, it allows you to play very fast repeated or articulated notes more cleanly than with single tonguing alone.
How do I start practicing double tonguing on the clarinet?
Begin by saying “ta-ka” slowly with a metronome at 60 BPM, aiming for even syllables. Then move to mouthpiece or mouthpiece-plus-barrel, keeping a steady airstream while you articulate. Finally, practice on a single note, such as open G, at 2 and then 4 notes per beat before adding scales or repertoire.
Why does my ‘ka' syllable sound weaker than ‘ta' and how can I fix it?
The “ka” uses the mid or back of the tongue, which is usually less trained than the tip. Strengthen it by practicing isolated “ka-ka-ka” patterns off the instrument, then on mouthpiece-only, then on a single note with a metronome at 60 BPM. Start some patterns with “ka-ta” so the back stroke leads.
What metronome settings should I use to build speed safely?
Start at 60 BPM with 2 notes per beat, then 4 notes per beat on a single note. When you can play 8-16 clean beats without tension, increase the tempo by 4-6 BPM. A typical progression is 60, 66, 72, 80, 88, 96, 104, 112, 120 BPM, always prioritizing evenness over raw speed.
Can double tonguing be used in historical performance practice?
Yes, carefully. Historical references to “double articulation” in late 18th and early 19th century wind treatises suggest alternating tongue strokes were known. In Classical repertoire by composers such as Weber and Krommer, tasteful, light double tonguing can help achieve the clear, speech-like articulation described in period sources.
