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Bouble tonguing uses a combination fiontstioke anu backstioke of the tongue,
allowing you to aiticulate at a much fastei pace. The aii is inteiiupteu once at the
fiont of the mouth with the syllable "tah," anu then again at the back of the mouth
with "kah." The iesult is "tah kah tah kah." Theie aie seveial uiffeient syllables you
can use when uouble tonguing, anu the option you choose may vaiy uepenuing on
youi piefeience oi what iepeitoiie you aie playing.

Beie is an example of how to apply uouble tonguing to a gioup of fast moving
notes.
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b
b
8
3
j

n
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T K T K T K

T K T K T K

0nce you've giaspeu the basic concept of uouble tonguing, it's time to stait iefining
youi technique. Because the "kah" lies fuithei back on youi tongue, it can feel
clumsy anu is uifficult to get as cleai as the fiont stioke. The goal is to not let the
listenei know you'ie uouble tonguing at all. Beie is a goou exeicise to stiengthen
the backstioke.
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4

T T T T

T
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4

K K K K

K
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4

T K T K


T K
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T T T K K T K K
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T

When tiiple tonguing on the flute, the syllables aie most commonly oiganizeu "Tah
Kah Tah," with the Kah in the miuule.

TKT TKT TKT TKT

Theie will be times when you'll want to ieaiiange these syllables to suit youi neeus.
Foi example, if you have a long stiing of tiiplets, you might still use a uouble
tonguing pattein so theie aien't two tah's in a iow.

TKT KTK TKT KTK

Anothei option is to put the two fiont stiokes togethei at the beginning of the gioup
of thiee. This can be useful in passages that neeu emphasis on the uownbeat.

TTK TTK TTK TTK

Beie aie some uiffeient methous of oiganizing syllables that you coulu apply to this
passage fiom Nenuelssohn's !"#$%#& ()*+,-&).

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T T K T
T K T K
K T T K

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T T K T K T T K T K
T K T T K T K T T K



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T T T
T T T
T T T



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vibiato is a sounu fluctuation piouuceu by pulses in the aiistieam. It is an
expiessive tool that gives the sounu foiwaiu motion. vibiato shoulu be integiateu
into the sounu, iathei than sounuing sepaiate fiom it. Youi thioat shoulu be open
anu ielaxeu to allow aii to flow fieely, as if you weie yawning. Let youi aii suppoit
come fiom low in youi coie, as opposeu to high in youi chest. Foi this exeicise,
choose any note that is comfoitable anu easy foi you.

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4
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w

q = 80
Vibrato Pulse
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4
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Vibrato Pulse
q = 80
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w
Vibrato Pulse
q = 80
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Vibrato Pulse
q = 80




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To uevelop gieat uynamic contiast, take time eveiy uay to piactice playing louu anu
soft. The louuei you play, the moie aii you neeu; playing foite iequiies a fastei anu
laigei aiistieam. 0se youi bieath efficiently, anu take moie bieaths as neeueu to
compensate foi the extia eneigy you'ie using.
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Piacticing tapeis anu uiminuenuos will help tone youi embouchuie foi sustaineu
pianissimo playing. Stait with a comfoitably full sounu anu begin a uiminuenuo,
keeping the same quality of tone thioughout the note as it gets softei. Youi apeituie
will get smallei anu youi aiispeeu will inciease. This cooiuination helps ensuie that
the note uoesn't ciack oi fizzle out too soon. uoou suppoit is ciucial heie.

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4
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Piacticing basic haimonics can help stiengthen anu tiain youi embouchuie. Fingei
the lowei notes in the seconu example, anu oveiblow slightly with goou suppoit to
achieve the uppei notes.

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4





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4

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Ceitain haimonic fingeiings can be quite useful to simplify fast, technical passages
such as Piokofiev's .$#//%0#$ ()*+,-&).

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