The master's thesis explores the technique of double and triple tonguing at playing the flute, which is considered an important technical element of modern flute performance, as certain pieces cannot be played at the desired character without proper mastery of double and triple tonguing. Following the introductory section, the concepts of double and triple tonguing are first defined, followed by a description of their historical development in connection with the musical literature of each period and the technical characteristics of the instrument, reaching back to the Baroque era. Subsequently, single tonguing is presented as a foundation to double and triple tonguing, along with its individual technical elements and corresponding exercises, collected from well-known flute method books by authors such as Trevor Wye, Robert Winn, Philippe Gaubert, Paul Taffanel, and others. At the end of the chapter, common problems en-countered when playing with single tonguing are described, along with possible solutions that can be achieved through various exercises. The next chapter provides a more detailed des-cription of the technique of double and triple tonguing and the principles that are recommended to be followed during practice. The explanation of the technique is supported by examples of exercises from the aforementioned flute literature. This is followed by a brief description of the French type of articulation, as introduced by Philippe Bernold, and an explanation of when the use of French articulation is recommended. The chapter concludes with a description of com-mon problems in the execution of double and triple tonguing and practical exercises that can help overcome them. The following chapter presents examples of double and triple tonguing in orchestral solos that flutists must master for auditions. The expected challenges of playing these excerpts are described, along with specific exercises to improve performance. In the final chap-ter of the thesis, the technique of double and triple tonguing on the piccolo is discussed, along with a technical comparison with the same articulation on the flute and ways to improve it.
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