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.

OBOE DOUBLE-TONGUE TROUBLESHOOTING

There are 2 mistakes oboists tend to make that can prevent them from learning double-tongue. If these 2 mistakes can be avoided or corrected, any oboist can double-tongue.

Mistake #1
While practicing double-tongue slowly, the oboist blows separately for each articulation.
When using double-tongue fast, the air pressure is completely constant. The oboist blows very fast airspeed as if slurring all the notes. Double-tonguing has no effect on the blowing.
When practicing double-tonguing slowly, it is crucial that the oboist not blow separately for each articulation. The air speed has to be maintained all the time, held either by the tip of the tongue on the reed or by the tongue in the “K” position.
Solution A
Look in a mirror. Make sure that while practicing double-tongue slowly that you see no motion in your belly, chest or throat. Only your tongue should be moving. Be vigilant. I have noticed over the years that oboists will be blowing separately for each articulation and not realize at all that they are doing this.
Solution B
Play a loud long tone on the note you are going to use to practice double-tonguing. Memorize how the blowing muscles feel as you play the loud long tone. When you practice the double-tonguing, make sure you are blowing exactly the same way.
Mistake #2
The oboist plays long notes while practicing double-tonguing slowly.
When double-tonguing fast, the notes, of course, are very short.
If the oboist practices double-tongue slowly, playing sustained tones, it is difficult to speed up that technique. A lot of players start out sounding like either this:
TuuuuuKuuuuuTuuuuuKuuuuuTuuuuuuuKuuuuu -or- TuuuuuuKuT TuuuuuuKuT TuuuuuuKuT
The latter happens when the oboist is trying to make the sounds short but the tongue isn’t getting back into the “K” position fast enough.
When practicing double-tongue slowly, it works better if it sounds like:
TuK KuT TuK KuT (The space between the syllables represents silence.)
Solution A
Make sure to play extremely short notes. Between each articulation (very short note), there should be silence. Accomplish this by first SAYING, “TuK TuK TuK KuT TuK etc” making sure to blow VERY hard against your tongue. Keep your jaw stationary and in playing position, not more open than when you play. Move only your tongue. (The sound should be more noise that the syllables spelled out above.)
As in the solutions to Mistake #1, make sure you are blowing constant (not in pulses) by watching your neck and chest in a mirror.

DOUBLE-TONGUING TRIPLETS, QUINTUPLETS and SEPTUPLETS

I recommend simply alternating the TUK and KUT for the odd number groupings. If there are 3, 5 or 7 fast notes to play before a “beat” I start on the “KUT” in order to wind up on the beat playing a “TUK” (or a simple “T” articulation if the double-tonguing does not continue.)

TEACHING DOUBLE-TONGUE ON THE OBOE

You can be very helpful to someone learning to double-tongue by letting him/her know if s/he is blowing steadily or not. Some oboists have a very hard time telling whether or not they are truly blowing constantly. Watch the student’s body carefully and let them know if they are pulsing the air pressure to any extent. (They usually are and don’t realize it.)

Also encourage the student to make only very short sounds. Have them do this without and then with the oboe.

Once double-tonguing reasonably well, the student can then do assignments, double-tonguing single notes and also scales at various tempos such as quarter-note = 60 (eighth notes, triplets, sixteenth notes). Any combinations of tempi and values are fine.

It is often helpful to remind students to blow good, fast airspeed. We all tend to blow less when we are thinking about tonguing or fingerings. Fast airspeed is always crucial to good playing, including double-tongue.

RHYTHM

Concert-ready double-tonguing is not only very fast, it also is extremely precise rhythmically. It is a mistake to practice double-tongue without a metronome, without strict rhythm. Double-tongue practice should always be in strict rhythm with a metronome. This prepares us for the precise rhythmic requirements presented to us in music with very fast articulation.