Clear articulation is the foundation of clear musical phrases, but some young players struggle with notes that sound muddy, percussive, or inconsistent when they tongue. This is almost never a result of the tongue action itself, but rather from too much pressure on the reed due to excessive pressure from the jaw or throat. Consider the tongue action to be a light interruption of the airstream, rather like placing a finger over a garden hose. The air should resume immediately, not have to build up to the former pressure.
A good exercise for teaching clear articulation is to hold a long tone, and then very lightly hit the reed with the tip of the tongue, all while maintaining the airstream. If the tone stops each time the tongue strikes the reed, then the airstream is stopping as well. Many young players freeze their breath when they articulate, resulting in awkward silences between the notes and leading to quick fatigue. Consider using a gentle “doo” syllable rather than “tah” to articulate. The attack will still be clear, but less sharp.
A common error is to pull the tongue back too far into the mouth after striking the reed. This results in too much movement, making faster articulations difficult, and may even cause pitch to waver. Keep the tongue close to the reed, moving back only a millimeter or two. The motion should feel relaxed, almost lazy, with the air doing the work. If the jaw clenches as the player articulates rapid notes, stop immediately, rather than allowing the player to ingrain a tense articulation.
The following exercise can be used daily to practice clear articulation in just a few minutes. Start with a long tone, and then tongue individual notes on the same pitch. Match the attack of each note as closely as possible. Gradually reduce the amount of time between each note while still trying to maintain the same attack quality. After a couple of minutes, switch to articulating simple patterns like scales. It is still important to concentrate on matching the attack quality rather than playing faster. I practice this in front of a mirror so that I can monitor the jaw to make sure it is still, and that only the tongue is moving.
If articulation becomes difficult or tense, try changing the dynamic instead. Very soft playing makes it easier to hear irregularities in the attack, while moderate dynamics encourage freer blowing. Making a short recording can help determine if the player is articulating with a clicking sound at the beginning of each note, or if there is still an initial swell. Clearly articulated playing is really an issue of coordination rather than strength, and once the breath is steady, even rapid passages sound deliberate rather than frantic.