Doodle Tonguing Routine

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tromaarron
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Joined: Wed Oct 17, 2018 1:43 am

Doodle Tonguing Routine

Post by tromaarron » Thu Jan 10, 2019 5:01 pm

Hey everyone,
I'm currently learning doodle tonguing (from the McChesney book) and I was wondering if anyone has a certain routine with it they find useful (ie certain exercises each week) or if the majority is to shed each exercise progressively?
Cheers!
AndrewMeronek
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Re: Doodle Tonguing Routine

Post by AndrewMeronek » Thu Jan 10, 2019 10:30 pm

Bob's book is great. It can also be nice to take other multiple-tongueing methods (like Arban's) and apply doodling to them.

For me, the biggest thing when I was figuring out how to do it was to pay attention to the "dle snap", to the point of exaggerating it, and making sure that the articulations are always clear. It took me a while to strengthen up my tongue to get to that point.
“All musicians are subconsciously mathematicians.”

- Thelonious Monk
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Arrowhead
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Re: Doodle Tonguing Routine

Post by Arrowhead » Tue Jan 22, 2019 7:22 pm

The McChesney book has 7 chapters. So you could play a few pages from each chapter everyday.
Next, you could try what he does, where you write out a doodle to a tune. Try something like Saints Go Marching In or St. Thomas. You don't have to limit doodle tonguing to modern Jazz or just standards. You can also apply it to Dixieland/New Orleans, Funk, Reggae, whatever....
You could also transcribe a little everyday of a well known "doodler"-Fontana, Watrous.....or any solos from the early 80's Woody Herman trombone section- definitely some doodle tonguing going on there....
tromaarron
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Joined: Wed Oct 17, 2018 1:43 am

Re: Doodle Tonguing Routine

Post by tromaarron » Wed Mar 06, 2019 4:38 pm

Great thanks for all the advice! I spent a few months going through the book and some of the arbans exercises and im now starting to apply it to learning jazz syntax for improvising and finding great results, thanks!
baileyman
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Re: Doodle Tonguing Routine

Post by baileyman » Wed Mar 06, 2019 8:43 pm

It's an interesting thing to do. Working through flexibilities at all possible metronome markings it becomes clear that there are speed limits on some techniques, and transition speeds where different techniques overlap in usefulness. Spending a year on this, new techniques continue to show up even these last two days. It seems clear that the better the slurs, the better the single tongue, the better the trills, then the better the doodles. And then there are hard and soft doodles, and it goes on and on.
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