Performance Practice Review Volume 10 Article 5 Number 1 Spring Tu ru or not Tu ru: Paired Syllables and Unequal Tonguing Patterns on Woodwinds in the Seventeenth and Eighteenth Centuries Bruce Haynes Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Haynes, Bruce (1997) "Tu ru or not Tu ru: Paired Syllables and Unequal Tonguing Patterns on Woodwinds in the Seventeenth and Eighteenth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 5. DOI: 10.5642/perfpr.199710.01.05 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/5 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact
[email protected]. 42 Bruce Haynes -> - As Hotteterre wrote, On observera seulement de ne point You must only observe never t prononcer Ru sur l& Tremblements; ni pronounce Ru on a shake, nor on sur deux Notes de suite, parceque le Ru two successive Notes, because Ru doit toujours &re m216 alternativement ought always to be intermixt alter- avec le TU.~ natively with TU' The R works when preceded by T,however (as in t dah). Quantz writes: I1 faut s'appliquer 2 prononcer trh fortement & distinctement la lettre r. sharply and clearly. It produces Cela fait 2 l'oreille le meme effet que the same effect on the ear as the lors qu'on se sen de di, en jouant de single-tongue di, although it does la simple langue: quoic)ue il ne not seem so to the player.