What is slap tonguing (clarinet)? Slap tonguing on clarinet is a percussive articulation created by forming suction between the tongue and reed, then releasing it quickly to produce a popping “slap” sound. To start: 1) use a slightly lighter reed, 2) place the tongue flat on the reed to create suction, 3) release sharply while supporting the air, practicing slowly with a metronome.
What is slap tonguing (clarinet)?
Slap tonguing on clarinet is a special articulation where the tongue creates a vacuum seal on the reed, then releases it to produce a distinct pop or smack. Unlike normal tonguing, the reed sound is mostly percussive, not sustained. Players use it to add rhythmic accents, humorous effects, and modern textures in jazz, klezmer, and contemporary classical music.
On clarinet, slap tonguing can be dry, with almost no pitch, or resonant, where the slap includes the fingered note. The sound depends on tongue placement, suction strength, embouchure, and reed setup. Once mastered, the technique allows clear rhythmic patterns, dynamic control from soft to explosive, and integration into both written and improvised passages.
History and traditions – early 20th century, Jazz Age (1920s), and modern resurgence (Martin Freres archival note)
Slap tonguing emerged in the early 20th century as clarinetists experimented with new sounds in vaudeville, dance bands, and theater orchestras. The technique fit naturally with comic effects, novelty pieces, and the growing taste for rhythmic punch in popular music. Early jazz clarinetists quickly adopted slap tonguing for energetic breaks and driving ensemble lines.
During the Jazz Age of the 1920s, clarinet slap tonguing became a recognizable color in hot dance bands and small combos. Players in cities like New Orleans, Chicago, and New York used it to cut through the band texture and to mark syncopated accents. Historic recordings from this period reveal both dry pops and resonant slaps embedded in improvised solos.
In the mid 20th century, slap tonguing continued in swing, traditional jazz, and klezmer, but it was less common in mainstream classical training. Some studio and theater players kept the technique alive for cartoon scores, film music, and commercial sessions where comic and percussive sounds were needed. The technique often circulated informally, passed from player to player rather than through method books.
Present day clarinetists encounter slap tonguing in contemporary classical scores, extended technique etudes, and jazz improvisation. Composers use it to imitate drums, create groove without a rhythm section, and contrast traditional legato lines. Modern performers often combine historically informed slap tonguing with new acoustic research and structured pedagogy to teach the technique more systematically.
How slap tonguing works – tongue mechanics, reed vibration, and basic acoustics
Slap tonguing relies on two main elements: suction and release. The tongue presses flat against the reed and mouthpiece tip, expelling air and creating a small vacuum. When the tongue pulls away quickly, air rushes in, the reed snaps against the mouthpiece, and a short, high-energy sound wave is produced. This wave can be mostly percussive or include the fingered pitch.
In normal articulation, the reed vibrates continuously as air flows past it, and the tongue simply interrupts or starts that vibration. In slap tonguing, the tongue itself becomes the main sound source by forcing the reed to move suddenly. The embouchure and oral cavity shape then filter and amplify the resulting pop, similar to how consonants shape vowels in speech.
The tongue mechanics involve a broad, flat contact rather than a pointed tip. Many players use the middle or front-middle of the tongue to cover the reed. The tongue presses gently but firmly, then pulls back with a quick, elastic motion. The muscles along the tongue surface and in the floor of the mouth coordinate to create this spring-like action.
From an acoustic perspective, slap tonguing generates a short, broadband noise burst with strong high-frequency content. The clarinet tube and tone hole configuration color that burst, sometimes making the pitch of the fingered note audible. For deeper scientific detail, players can consult acoustics research from organizations like the Acoustical Society of America that analyze reed instrument transients and percussive articulations.
Equipment setup and reed recommendations (archive reed-strength notes preserved)
Equipment setup has a major impact on how easily you can produce slap tonguing. A responsive reed and balanced mouthpiece-reed combination help the reed snap cleanly when the tongue releases. Many players find that slightly softer reeds make the first stages of learning much easier, because they seal and release with less tongue pressure.
For intermediate clarinetists, a typical starting point is a reed strength about a half grade softer than your normal setup. For example, if you usually play a 3.5, try a 3 or even a 2.5 for slap practice. Some workshop notes describe a range similar to “5 – 2” to “5 – 4” on older reed scales, which roughly corresponds to modern medium-soft to medium strengths.
Mouthpiece alignment also matters. The reed should be centered on the mouthpiece table, with the tip of the reed just visible or exactly aligned with the tip rail. If the reed is off-center or too far below the tip, the suction seal becomes unreliable and the slap may sound weak or inconsistent.
Ligature placement should be stable but not excessively tight. A ligature that pinches the reed can reduce its ability to flex during the slap. Many players prefer a standard metal or fabric ligature rather than very heavy or restrictive designs when working on percussive effects. The goal is a reed that responds quickly to sudden changes in pressure.
For practice, consider dedicating one or two reeds specifically to slap tonguing. Mark them clearly and accept that they may wear out faster than your regular reeds. This approach protects your best performance reeds while you refine your tongue mechanics and embouchure control.
Step-by-step technique: tongue placement, suction, release, and embouchure notes
Start learning slap tonguing away from the clarinet body, using only the mouthpiece and reed. This simplifies the acoustics and lets you focus on the tongue-reed interaction. Hold the mouthpiece as if playing, with your normal embouchure, but do not blow continuously. The goal is a clear, isolated pop when you release the tongue.
Step 1: Place the front third of your tongue flat against the reed and mouthpiece tip. Think of gently pressing a slightly wet fingertip onto glass to create suction. The tongue should feel broad, not pointed. Keep your jaw relaxed and your embouchure firm enough to seal around the mouthpiece but not biting.
Step 2: Create suction by lightly pulling the tongue backward while maintaining contact with the reed. You might feel the reed flex slightly toward the mouthpiece. Do not blow yet. The suction comes from tongue movement and a small pressure difference, not from strong inhaling or exhaling.
Step 3: Release the tongue quickly by pulling it away from the reed in a snapping motion. The motion is short and elastic, like plucking a string. As you release, allow a tiny puff of air to move through the mouthpiece. You should hear a clear pop or smack, even if no sustained pitch follows.
Step 4: Once you can produce a consistent pop on the mouthpiece alone, assemble the clarinet and finger low E or F. Repeat the same tongue placement, suction, and release. Aim for a percussive sound that may include some pitch. Keep the embouchure stable and avoid biting, which can choke the reed and kill the slap.
Step 5: Gradually add more air support after the slap so that a short note follows the pop. Think of the slap as the attack and the air as the sustain. This transition is important for using slap tonguing musically, not just as a special effect. Practice alternating normal tonguing and slap tonguing on the same note to feel the difference.
Progressive practice exercises and drills (metronome, single/double tonguing warmups, mirror work)
Begin each session with a few minutes of regular single tonguing to warm up the tongue and embouchure. Use a metronome at 60 to 72 bpm and play quarter notes on open G, low E, and middle C. Focus on clean attacks and relaxed tongue motion. This prepares the tongue muscles for the more extreme movement of slap tonguing.
Exercise 1: Mouthpiece-only slaps. With the metronome at 50 to 60 bpm, produce one slap per beat on the mouthpiece and reed. Aim for 10 to 20 clean slaps in a row. Use a mirror to check that your jaw stays steady and that the tongue motion is internal, not accompanied by visible chin movement.
Exercise 2: Single-note slaps on the assembled clarinet. Choose low E, F, or G. At 60 bpm, play one slap on beat 1, then rest for beats 2, 3, and 4. Repeat for 8 to 12 measures. Listen for consistency of volume and timbre. Record yourself and compare the sound to professional examples when possible.
Exercise 3: Slap plus sustain. On low E, produce a slap on beat 1, then immediately follow with a short sustained note on beat 2 using regular air support. Rest on beats 3 and 4. This trains the coordination between the percussive attack and the resonant tone that follows.
Exercise 4: Simple rhythmic patterns. At 72 to 80 bpm, play two slaps per measure on beats 1 and 3, then on beats 2 and 4. Next, try four slaps per measure as quarter notes. When that feels secure, attempt eighth-note slaps at 60 bpm, keeping the motion small and efficient.
Exercise 5: Alternating articulations. On a simple scale, alternate normal tonguing and slap tonguing: T S T S (T for normal tongue, S for slap). Start at 60 bpm with quarter notes, then increase to 72 or 80 bpm as you gain control. This drill helps you integrate the technique into real music without losing basic tone quality.
Common mistakes and troubleshooting (no sound, weak slap, reed issues)
One common problem is getting no slap sound at all, only air or a faint click. In this case, first check reed strength. If the reed is too hard, it may not flex easily enough to snap. Try a slightly softer reed and confirm that it is not chipped or warped. Then review tongue placement to ensure a broad, flat contact on the reed.
If the slap is weak or inconsistent, the suction is often too light or the release too slow. Practice creating a stronger seal by gently pressing the tongue into the reed, then exaggerating the quick pull-back motion. Use a mirror to verify that the jaw is not moving with the tongue. The motion should come from the tongue muscles, not from biting or jaw pumping.
Another issue is a harsh, uncontrolled slap that feels painful or unstable. This can result from excessive tongue force or an overly tight embouchure. Reduce the pressure of the lips on the mouthpiece and think of the tongue as elastic rather than rigid. The slap should feel like a quick spring, not a hard punch.
If you hear mostly pitch with very little percussive pop, your air stream may be dominating the sound. Try producing the slap with almost no air, then gradually add just enough air to support a short tone after the pop. This helps you separate the percussive component from the sustained note and then recombine them intentionally.
Reed alignment problems can also sabotage slap tonguing. If the reed is slightly off-center, the tongue may seal one side better than the other, leading to uneven response. Check that the tip of the reed matches the mouthpiece tip and that both rails are visible and even. Adjust the ligature so the reed does not slide during practice.
Maintenance and reed care to support slap tonguing (gentle practice, reed rotation)
Slap tonguing places extra stress on the reed, so careful maintenance protects both sound quality and your budget. Always moisten the reed thoroughly before practicing slaps. A dry reed is more likely to chip or crack when subjected to sudden suction and release. Soak the reed in your mouth for 1 to 2 minutes before starting.
Use a reed rotation system. Keep at least 3 to 4 playable reeds in a case and alternate them daily. Mark one or two as your slap tonguing reeds and reserve the others for standard playing. This spreads wear evenly and reduces the risk of sudden reed failure before a rehearsal or performance.
After each session, gently wipe excess moisture from the reed and lay it flat in a ventilated reed case. Avoid storing reeds on the mouthpiece or in closed plastic sleeves that trap water. A flat, breathable surface helps prevent warping, which can interfere with the suction seal needed for slap tonguing.
When practicing, avoid aggressive tapping or hitting the mouthpiece against your teeth as you experiment with tongue placement. Such impacts can chip the reed tip or damage the mouthpiece rails. Always remove the clarinet from your mouth before adjusting the reed or ligature to prevent accidental bumps.
Keep the clarinet itself in good condition. Regularly check that the mouthpiece tenon fits securely into the barrel and that there are no air leaks at the joints. A leaky instrument can make all articulations, including slap tonguing, less reliable. Periodic maintenance by a qualified technician supports consistent response across all techniques.
Performance applications and musical contexts (jazz, contemporary, classical uses)
In jazz, slap tonguing often functions like a snare drum or rimshot. Clarinetists use it to mark backbeats, punctuate phrases, and add excitement to solos. In small ensembles, a strong slap can cut through the texture and provide rhythmic clarity without overwhelming the group. It is especially effective in call-and-response patterns with brass or rhythm section.
Contemporary classical composers use slap tonguing to expand the clarinet's color palette. Scores may call for isolated slaps, repeated patterns, or combinations of slap and normal tone. Notation typically includes an “x” notehead or specific instructions such as “slap tongue” or “smack tongue.” Players must read these markings carefully and match the requested dynamic and character.
In klezmer and related folk traditions, slap-like articulations add grit and speech-like inflection to melodies. While not always labeled as slap tonguing in method books, the underlying concept of percussive tongue-reed interaction is similar. Listening to experienced folk clarinetists can provide stylistic models for integrating slaps into ornamentation and dance rhythms.
Film, theater, and cartoon music often call for exaggerated effects that resemble slap tonguing. Composers may want a comic pop, a surprise accent, or an imitation of percussion instruments. Clarinetists who can produce reliable slaps at different dynamics have more options in these settings and can respond quickly to creative requests from directors and composers.
In more traditional classical repertoire, slap tonguing is used sparingly, usually in modern editions, cadenzas, or contemporary reinterpretations. When adding it to older works, consider stylistic appropriateness and consult with conductors or teachers. Used tastefully, a soft slap can highlight a humorous passage or create a special color in chamber music.
Advanced variations and dynamics (muted slaps, double-slap patterns)
Once you can produce a clear, medium-volume slap, begin exploring dynamic control. Practice very soft slaps by reducing suction and tongue speed while keeping the motion precise. Then work on loud slaps by slightly increasing suction and tongue energy without biting. Aim to produce a full dynamic range from pianissimo pops to fortissimo smacks.
Muted slaps involve partially damping the reed or reducing the air column's resonance. One approach is to slightly relax the embouchure and use less air, creating a dry, close-mic effect. Another is to finger a note that naturally resists resonance, such as throat tones, and focus on the percussive component. These muted sounds can be useful in chamber music or intimate jazz settings.
Double-slap patterns extend the technique rhythmically. Start by producing two slaps in quick succession on a single beat, similar to double tonguing. The motion is usually “front-middle” of the tongue followed by a slightly deeper contact, or a quick rebound and re-contact. Practice at very slow tempos, such as 40 to 50 bpm, before increasing speed.
Triplet and multi-slap figures are possible once the basic double slap is secure. For example, try three slaps evenly spaced over one beat at 40 bpm. Use a mirror and a recording device to verify that each slap is distinct and that the rhythm remains steady. These patterns can create drum-like rolls and fills in solo or ensemble contexts.
Advanced players also experiment with combining slap tonguing with other extended techniques, such as pitch bends, glissandi, or flutter tongue. For instance, a slap followed by a quick glissando up a minor third can create a vocal, expressive gesture. Always build these combinations slowly to maintain control and protect your embouchure and reeds.
Workshop notes and measurable practice metrics (tempo ranges, practice time blocks)
Structured practice helps transform slap tonguing from a random effect into a reliable tool. Divide your work into short, focused blocks. For example, spend 5 minutes on mouthpiece-only slaps, 5 minutes on single-note slaps with the clarinet, and 5 minutes integrating slaps into simple rhythms or scales. Keep a notebook to track tempos and daily progress.
Tempo benchmarks provide clear goals. Aim first for 30 clean slaps per minute at 60 bpm, one per beat. Once consistent, increase to 60 slaps per minute at 60 bpm as eighth notes. Later, work toward 80 to 100 slaps per minute at 80 bpm, still prioritizing clarity over speed. Quality of sound is more important than raw tempo.
Use simple metrics to measure improvement: number of consecutive clean slaps, dynamic range (softest and loudest usable slap), and number of tempos at which you can play a given exercise. For example, record how many tempos between 60 and 96 bpm you can perform quarter-note slaps with no missed sounds in a 16-beat run.
Workshop settings often include group listening and feedback. If you study with a teacher, ask for periodic check-ins where you demonstrate your slap tonguing at different dynamics and tempos. A teacher can spot subtle issues in tongue motion or embouchure that are hard to detect alone, especially at faster speeds.
Finally, schedule rest. Slap tonguing can fatigue the tongue and embouchure more quickly than normal playing. If you feel tension in the jaw or tongue, pause for a minute, stretch gently, and return with lighter, slower slaps. Sustainable practice habits protect your long-term playing health and keep the technique enjoyable.
Resources, listening examples, and next steps
Listening is important for developing a musical sense of slap tonguing. Seek out historic jazz recordings from the 1920s and early 1930s that feature clarinet solos with percussive articulations. Pay attention to how players place slaps within phrases, not just as isolated effects. Try to imitate short fragments by ear to internalize timing and character.
Contemporary classical recordings provide another perspective. Look for works that specify slap tongue in the score and compare different performers' interpretations. Notice how some players favor dry, noise-based slaps while others blend more pitch into the sound. These choices can guide your own stylistic decisions when working with modern repertoire.
Library archives and university collections often hold early method books, periodicals, and scores that mention special articulations for clarinet. Exploring these sources can deepen your understanding of how slap tonguing evolved from novelty effect to recognized technique. Some archives include annotated parts from dance bands and theater orchestras that show practical use in performance.
As a next step in your own practice, choose one or two short pieces or etudes where slap tonguing could be musically appropriate. Mark specific notes or measures where you will use the technique, then practice those spots slowly with a metronome. Gradually integrate the slaps into full-tempo performances, always listening for balance and clarity.
For teachers, consider creating a small slap tonguing curriculum for intermediate students: a 4 to 6 week plan with assigned exercises, listening tasks, and short performance projects. Document each student's progress with recordings so they can hear their development over time. This structured approach helps demystify the technique and makes it part of regular clarinet study.
Key takeaways
- Slap tonguing on clarinet uses tongue-reed suction and quick release to create a percussive pop that can include pitch.
- A slightly softer, well-aligned reed and stable embouchure make the technique easier and safer for both player and equipment.
- Short, daily practice blocks with clear tempo and consistency goals lead most players to reliable slaps within 2 to 4 weeks.
- Historical jazz, contemporary classical, and folk recordings offer rich models for musical use of slap tonguing.
- Thoughtful reed care, rotation, and gentle technique protect your reeds while you develop advanced articulations.
FAQ
What is slap tonguing (clarinet)?
Slap tonguing on clarinet is a percussive articulation created by forming suction between the tongue and reed, then releasing it quickly to produce a popping or smacking sound. The effect can be dry and noise-like or include the fingered pitch, and it is used in jazz, contemporary classical music, and special effects.
How do I start learning slap tonguing on clarinet?
Begin with the mouthpiece and reed only. Place the front of your tongue flat on the reed, create gentle suction, then release quickly to produce a pop. Once you can do this consistently, assemble the clarinet and practice slaps on low notes at slow tempos, using a metronome and short daily sessions.
Which reed strength is best for slap tonguing?
A reed that is slightly softer than your normal setup usually works best when learning slap tonguing. For many players, this means dropping about a half strength, such as from 3.5 to 3 or 2.5. The reed should be responsive and flexible enough to snap when the tongue releases, without feeling mushy.
Will slap tonguing damage my reeds or mouthpiece?
Used correctly, slap tonguing should not damage your reeds or mouthpiece. Problems arise from excessive force, dry reeds, or accidental impacts. Moisten reeds fully, use moderate suction, avoid biting, and rotate several reeds for practice. These habits minimize wear and help protect both reed and mouthpiece.
How long will it take to master slap tonguing?
Most intermediate clarinetists can produce a basic, reliable slap within 2 to 4 weeks of focused daily practice, about 5 to 10 minutes per day. Developing full control of dynamics, speed, and musical integration usually takes several months, similar to refining any advanced articulation technique.
Can I use slap tonguing in classical repertoire?
Yes, but with care. Many contemporary classical works explicitly call for slap tonguing, and some modern interpretations of older pieces add it for color or humor. Always consider the style, consult the score and conductor, and use slap tonguing where it enhances the music rather than distracting from it.
