multiple tonguing technique

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Texas Bandmasters AssociationBandmasters Review December 2007

For many, multiple tonguingon the saxophone has long beenthought of as a novelty or showoff technique that only a fewcould master. Yet, there are piecesin the U.I.L. saxophone soloand concert band repertoire thatare almost impossible to single

tongue, and consequently, theywould be more easily doubleor triple tongued. Saxophoneauditions for some of the UnitedStates service bands require scalesto be double tongued. Evidencethat early 20th century vaudevilleand jazz saxophonists multipletongued certainly allows thepossibility for every student toengage in mastering the technique.Thus, just as with brass and otherwoodwind instruments, multipletonguing on the saxophone shouldbe considered necessary whenperforming technically challengingrepertoire.

Historical Background

Early in the 20th century,saxophonists such as JimmyDorsey, Frank Trumbauer and

Alfred Gallodoro championed thetechnique in popular dance band

American music. Among many virtuosic solos,

Dorsey can be heard tripletonguing on Tail Spin that he

recorded on his 1935 album Stop,Look, and Listen. One can hearFrankie Trumbauer racing awayon Wild Cat (ca.1930) and AlGallodoro continues to astoundeveryone with his album entitledSaxophone Contrasts which includes

multiple tonguingshowpieces likeCszardas and DelStaigers arrangementof Carnival ofVenice. Further,several saxophonemethod books werewritten that includedexercises on double tonguing.Books such as Walter EbysScientific Method for Saxophone published in 1922, The BusinessSaxophonist by J. Beach Cragun(1923), and Sax Acrobatix byHenry Weber (1926) all containsections on multiple tonguing. In1940, Jimmy Dorsey publishedhis saxophone method entitled

A School of Modern RhythmicSaxophone Playing whichpresented studies on double andtriple tonguing; and in 1963, LarryTeal included exercises inThe Artof Saxophone Playing.

How To Do ItSo, how did these saxophone

virtuosi multiple tongue so well?In all my years of success withperforming and teaching songsthat contain multiple tonguing,

I have foundit helpful for

my students tovisualize and havea true anatomicalunderstanding ofhow the tonguemoves. Unlike brassand flute players,saxophonists mustinsert a mouthpiece

inside the mouth, thereforemaking it a little different toarticulate. The illustrations on thefollowing page provide detailedmovement of the tongue.

Figure 1a depicts the initial stepof the single tongue articulationas the tongue is placed on thereed. Figure 1b then illustrates thetongue moving away from the reed

by utilizing the syllable,du (d),allowing the airflow to producethe tone. As for the double tongue,Figure 1c shows the tonguearching up against the roof ofthe mouth as it cuts off the airsteam and vibration of the reed.Figure 1d illustrates the tonguemoving away from the roof of the

Dr. Joe Compen, III

Yes! Saxophonists CanDouble Tongue

There are pieces in

the U.I.L. saxophone

solo and concert band

repertoire that are

almost impossible to

single tongue, and

consequently, they would

be more easily double

or triple tongued.

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mouth by pronouncing the syllable, gu (g), allowingthe air to vibrate the reed and produce the secondarticulation. Thus, the ideal syllables for saxophoniststo use when learning to double tongue aredu-gu.This syllable combination allows for a smootherarticulation as opposed to ta-ka that tends to makea harsher sound on the saxophone.

Double TonguingSince some of the orchestral transcriptions favored

by most high school bands require the technique,students should learn to multiple tongue beginningin high school or even as early as middle school.

When first attempting the technique, one must use areed with a good heart that allows for the productionof a resonant tone and responds evenly from the topto the bottom of the saxophone range. Using a reedwithout a good heart will result in uneven articulation

and poor tone quality. Exercise 1 (below) contains

repeated notes based on the C Major scale (middleC through high C) and is in the ideal tessitura forstudents to start practicing their double tongue:

This exercise should be practiced with ametronome, beginning with a metronomic markingof 60 (quarter note). Ultimately, one shouldstrive to produce evenness between the singleand double tongue articulations and use a legatotongue. A staccato articulation with a t-tongueor tu-ku articulation will often result in a harshuncharacteristic sound. Further, it is essential to keepa fast and intense air stream flowing through theinstrument in order to produce an even alternationbetween the single and double tongue syllablesso that the rhythm doesnt have swing feel. Oncean even and characteristic articulation has beenachieved, students should then increase the tempoin reasonable increments and strive to reach tempi

in excess of 160. Everyone is different. Just as when

Yes! Saxophonists Can Double Tongue

Exercise 1

Figure 1a Figure 1b Figure 1c Figure 1d

Upper Jaw

Mouthpiece

Lower Jaw

Tongue

Reed

Upper Jaw

Mouthpiece

Lower Jaw

Reed

Tongue

Back ofMouth

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studies are set at tempi from 132 through 138 thatare more efficiently performed double tongued.

Some pieces that require the technique in theU.I.L concert band repertoire includeScheherazade Mvt. IVFestival at Baghdad and Festive Overture.

Arranged by Mark Hindsley,Festival atBaghdad contains an excerpt beginningtwo measures before rehearsal 12 thatthe tenor saxophonist must tripletongue in order to effectively execute

the continuous sixteenth note triplets.Festive Overture, arranged by DonaldHunsberger, has a section where the 1stand 2nd alto saxophone players mustdouble tongue beginning at rehearsal26. Although there are slurs over thenotes that serve as phrase groupings, thesaxophonists must articulate the notes in this passage,

just like the strings do in the orchestral version.

Closing ThoughtsFor enrichment, high school students should

explore other repertoire that includes over 23,000original works for classical saxophone. Solos suchas Concerto for Saxophone and Concert Band by

Karel Husa,Quartet for Saxophone by Aldemaro Romero,Danza Capriccio for Alto Saxophone and Concert Band by Ron Neslon, andExcursions for

Alto Saxophone and Marimba byCharles Rochester Young are a few ofmany works where multiple tonguingfacilitates successful performance.

Just as saxophonists deemed itnecessary to multiple tongue early inthe 20th century, classical saxophonistsof the 21st century must have a

command over the technique. Like performing inthe altissimo register and with circular breathing,

multiple tonguing adds another dimension forsaxophonists to entertain and astound their audience.

Like performing

in the altissimo

register and with

circular breathing,

multiple tonguing adds

another dimension

for saxophonists to

entertain and a stound

their audience.

Dr. Joe Compen, III enjoyed an early career in saxophone with prestigious accolades such as ranking among the top alto saxophonists in theTexas All-State Band three consecutive times and earning four consecutive TSSEC Outstanding Performer awards. He received his degrees from the University of Texas at Austin and performed with the All-Star Disney College Show Band. Compen has taught award-winningTexas public school programs and master classes. He performs recitals throughout Central and South Texas. Aside from working with regionalorchestras and big bands, he has received praise from and has premiered works by illustrious 21ist century composers such as John AnthonyLennon and John Corigliano. Dr. Compens primary teachers have included Tony Campise, Alfred Esquivel and Harvey Pittel. Questionsregarding double tonguing for saxophone may be sent to [email protected].

Yes! Saxophonists Can Double Tongue

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