With this practice exercise, I would like to introduce you to the practice work that went into my new album Flute Sonatas & Adagio, featuring works by Johann Joachim Quantz, while also giving you a glimpse into the creative process. The album includes six sonatas for flute and harpsichord, as well as the Adagio from „Versuch einer Anweisung die Flöte traversière zu spielen", recorded on a replica of an original Quantz flute by Jean-Jacques Melzer at 390 Hz.

In particular I wanted to share my approach to practicing double tonguing with did'll, as per Quantz's instructions, applied to one of his typical fast movements, the Allegro assai from the Sonata in C major QV1:11.

In the sixth main section of his treatise, third part (§1), Quantz writes a short chapter on the use of the baroque double tongue. He writes: "Double tonguing is used only in the fastest passages. As easily as it can be demonstrated orally and understood by ear, it is just as difficult to teach in writing." Essentially, all the sonatas by Johann Joachim Quantz usually contain one or two movements that correspond to this description. Most of the practical instructions and examples of did'll can be found in his Solfeggi.

My practice work on the six sonatas and the Adagio was accompanied by preparation in five different keys: C major, G major, G minor, B minor, and E minor. Each of these keys presents unique challenges for the traverso, including intonation, articulation, tone production, character, tempo, and, of course, double tonguing,

My general strategy was to begin with the most challenging sections and focus on passages within each movement that were less intuitive or more difficult to master. The following exercise passage is one such example and represents my personal method for tackling demanding sections. With this, I hope to inspire and encourage others to explore and appreciate the art of double tonguing.

Suggested approach

First, read the guide carefully step by step and then try to implement them. Pay close attention to your own playing (possibly even recording it). Find your own tempo while playing and try to change it in one direction or another. The audio file can help you to understand the instructions. If everything goes well, be creative and invent your own exercises.

STEP 1 - The legato playing (blue mark)

Practicing the entire position in the legato ensures good support and uninterrupted air guidance.This is essential for playing double tonguing. It is recommended to play in the "mp" and as sweet (dolcissimo) as possible.

The idea that the fingers also play in a "Dolcissimo movement" and move "like on cotton wool" can help. It is good to make sure, especially with large jumps, that each tone already includes the next and the air speed is individually adapted to each tone.

STEP 2 - Scales (green marks):

• I: 3 slurred tones practice (e,d,e), then these three syllables play with double tongue (di dll di)
• II: 5 slurred tones practice (g,f,e,d,e), then these five syllables with double tongue (di dil di dil di)
• Ill: 7 slurred tones practice (b,a,g,f,e,d, e), then these seven Syllables with double tongue (di dil di dil di dil di)

Practice change of direction separately ( circled in green) in the same way as before: c, d, c and b,g, b.

Tips:

• play the sounds with the feeling of "sucking in".
• the goal is the last note.
• imposition: the fingers pull out the tongue for good synchronization between fingers and tongue.
• keep lip opening constant in shape and size.

STEP 3 - Tremolos (yellow marks)

Play in groups of two (di dil). The second syllable is the goal. Play with little air. Open the neck and throat wide and create a large interior of the mouth. Adjust the correct amount of air and speed to the interval. Just like playing groups of five. Practice in different tempi.

STEP 4 - Test the whole passage

Play the whole passage in slow tempo, trying to play the notes in each pair with the same length to make the two syllables sound equal

Tip:

• make sure that the sound quality of the two syllables "di" and "dil" is consistently good, the rhythm remains balanced and the tongue always touches the palate in the same place (without much effort ).

Conclusion

These exercises are no substitute for a good teacher. To truly master double tonguing, I would say the best approach is to be curious, read a lot (particularly from Quantz and Tromlitz), practice diligently, stay open to both small and significant setbacks, and always maintain a positive outlook-especially with a great teacher by your side.

Enjoy! And have fun listening to my new album!