Double Tonguing

Double-tonguing is such a standard technique at this point in woodwind pedagogy, I hesitate even to include it in a discussion of “unusual techniques.” But what I would like to do is point out some double-tonguing pitfalls/solutions that oboists sometimes encounter because of the oboe’s uniqueness.

Compared with the other woodwind instruments, oboe uses higher air pressure inside the mouth. The makes double-tonguing somewhat different on the oboe, thus the learning process needs to be a little specialized.

The ease with which flutists and saxophonists, for example, execute double-tonguing doesn’t correspond 100% to oboe double-tongue. During oboe double-tonguing, the tongue is moving in a higher air pressure environment than those other woodwind instruments, and this higher air pressure makes a big difference.

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Practice Techniques

Efficient, successful practice is serious fun, challenging enough to keep you just out of your comfort zone, highly varied with detailed intentions, and focused on the positive.

You bring all your practice on stage with you to perform, not just the good practice. So make all your practice really good.

Rule of thumb: Playing through music "the way it goes" is not practice (it’s just playing it the way it goes!). Playing music as written is fine, but should comprise only a small percentage of practice time.

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