Lesson 8: Tonguing and Articulation

Articulate cleanly with too, doo, and roo, and hear the difference.
Play a melody where the articulation, not just the notes, makes the music.

The tongue is the bow.

Every note you have played so far has been tongued — you used the syllable too in Lesson 1 without thinking about it. This lesson names the variants and asks you to choose between them. The tongue is the recorder's only attack mechanism; it is the closest thing the instrument has to a violin bow.

Three syllables

too · tu: The standard attack: tongue tip just behind the upper teeth, then release. Clean and slightly bright.
doo · du: Same placement, less pressure. For legato and quiet passages.
roo · ru: The tongue brushes rather than stops. For inside slurs and phrase tails.

And one absence: slurred notes have no tongue between them at all — the fingers do all the separating.

Play the line three times: too on every note, then doo, then slurred (one tongue on note 1).

Play: a melody that needs both

The first phrase below wants too — clear and forward; the second wants doo — smooth and inward. Played the wrong way round, the melody loses its shape.

First half too, like steps; second half doo, like a descent into rest.

Now play these

Merrily We Roll Along: Once entirely on too, once entirely on doo.
When the Saints Go Marching In: Strong, forward too throughout.
Go Tell Aunt Rhody: Almost entirely doo.

When you can audibly change a song’s character by changing the articulation alone, move on to Lesson 9.