Articulation
Recorder Technique Essentials
Adapted from my article in American Recorder, Vol. LXII, No. 3 (Fall 2021)
How we start each note shapes the character of our playing — this is the art of articulation. On the recorder, articulation is like speaking: the consonants give clarity and shape, while the air is like singing — the continuous flow that carries the sound. If you pay attention when you speak, you’ll notice that your airflow remains steady; only the tongue and lips move to form the words. The same is true when we play.
Tongue & Air
Every note begins with an articulation — except when we play slurred (legato). Before choosing syllables, there is one basic condition: a steady airstream.
Think of the air as a wide river and the tongue as a small boat floating on it. If the river dries up, the boat gets stuck. The same happens to the tongue: without continuous support, it becomes heavy and late.
Keep breath support active between notes, even in staccato. Don’t start and stop the air for every note; let the tongue do the separation. A useful check is to slur a phrase first, then add the articulations. If the slurred version is even and supported, the tongued version will feel lighter and easier.
Inside the Mouth
The tongue rests relaxed; only the tip is active. The base of the tongue should stay compact, not low. The French u (as in lune) is a helpful model, because it gathers the tongue. If you don’t know this sound, start from “ee” and let the lips move slightly forward, as if beginning to whistle. The cheeks narrow just a little, while the jaw remains neutral and still.
The jaw must not chew or move with every articulation. If you are unsure, check in a mirror. This is also useful to see that your breathing is in the right place: low, without the chest moving.
Where to Touch
Articulate just behind the upper front teeth, in the area where the palate is still low. Each tongue is a little different in length, so think of this as a small range: from right behind the teeth until just before the palate begins to rise. Too far back is not practical — it feels awkward and produces a muffled sound. The tip of the tongue should find the shortest, most natural path.
Legato, Portato, Staccato
Legato: one continuous air stream, no tongue between notes. Excellent for training air and exposing uneven finger changes.
Staccato: each note short and clear, but with breath support still active. Think of a quick, silent “Tu(t),” where the (t) is only felt.
Portato / non-legato: everything in between, from lightly separated to broader, cushioned notes.
Single Tonguing
T briefly closes the air with the very tip of the tongue: clear and precise, never explosive.
D interrupts the air slightly without cutting it off completely: softer, but still clear.
Du(d) is best for low notes, where T is too harsh and may cause the pitch to jump. It works anywhere you want a gentle detaché.
R is softer than D, using an even smaller area of the tongue.
L is the softest: the air flows around the sides of the tongue, without interruption. This creates a 17th-century-style tremolo — a vibrato-like ornament on a single note.
Noisy Tongue?
Clicks or taps usually mean too much pressure toward the palate or too much tongue mass, but other factors also play a role:
Vowel shape: “oo” forms a bowl in the tongue base, increasing noise. A forward vowel, like “ee” or French “u,” keeps it compact.
Tongue root: if the base of the tongue in the throat is tense, the tip becomes heavy.
Embouchure: if the cheeks are completely loose, the sides of the tongue may “dance.” A gentle whistling shape, with slightly active cheeks, gives stability — not the tight embouchure of the transverse flute, but a subtle focus toward the recorder.
General advice: keep jaw, throat, and most of the tongue relaxed. The impulse of the tip should go backward, away from the palate — imagine a cat’s paw touching water and pulling back instantly. Let the air carry the sound; the tongue only shapes the beginning.
Contemporary Effects
Sometimes modern repertoire asks for extended techniques:
Flutter-tongue (Flatterzunge): a rolling r while sustaining a note, made either with tongue or throat (depending on your native language).
Slap-tongue: a very firm T with a closed throat, creating a percussive “pop.” For long notes, open the throat again after the pop.
Double Tonguing
Teke / Dege
Double tonguing alternates the tip (T or D) with the back (K or G). Teke is the firmest; dege the softest. Keep K/G as far forward as possible — not in the throat, but near the back molars. The mouth should stay loose, the tongue floating on the air, as if everything happens further forward in the mouth.
Lere / Did’l
These alternate two tongue positions. Lere lets the air pass around the sides of the tongue, smooth and fluid. Did’l adds a slightly broader surface behind the D. Try singing di–d’l to feel the difference; singing makes you use the same air you’ll need on the instrument.
A rule of thumb: double tonguing needs even steadier air than single tonguing. Support first, then speed.
Practising Double Tonguing
Muscle memory takes time, so start slowly and with full awareness. Here’s a step-by-step routine (try first with teke/dege, then with lere/did’l):
Begin slowly on one note, steady and rhythmic.
Play 8 strokes on one note, then change on the 9th.
Play 4 strokes on one note, change on the 5th.
Play 2 strokes on one note, change on the 3rd.
Combine 8–4–2 strokes up and down a scale.
Play 3-note mini-scales (C–D–E, E–D–C) with tekete or degede.
String these patterns into sequences.
Do the same with 5-note runs (C–D–E–F–G) and 9-note runs (C–D–E–F–G–A–B–C–D).
Practise arpeggios.
Apply to passages in real repertoire.
Extra: practise in reverse (kete/gede) to strengthen the weaker syllable. Also try triplets: tekete keteke / degede gedege.
Choosing Articulations in Music
Here are some starting points — you can always adapt to the character of the piece:
Use T for repeated notes (Du(d) on lows) and for larger jumps (3rds and 4ths upwards).
Use D for stepwise motion, such as scales.
3rds can go either way, depending on the phrase.
Phrasing matters more than the bar lines: if the last note of a scale lands on a strong beat, include it in the D chain (T-d-d-d-D).
Dotted rhythms often sound best as tu-Du, tu-Du. Think of a jazzy lilt.
In French Baroque music, stepwise motion is usually tu tu-Du tu-Du tu-Du: tu on weak beats, Du on strong. This creates inégalité — an elegant unevenness, not quite swing, but a gentle play of light and shade.
Further Practice
A wonderful resource is The Complete Articulator by Kees Boeke. Start with Part II, then (optionally) Part I. Once memorized, it makes an excellent daily warm-up. I like to play Part II in F major every day, but you can use it as you please.
