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TONGUING
The word articulation refers to the way wind players use their tongue (or not) as part of musical phrasing. The conventional way to play a single note consists of doing several things in the right order:
- Breathe in to provide a pressurised column of air
- Place your tongue against the reed
- Without losing the air pressure remove your tongue
- The note sounds
- Place your tongue back against the reed to stop the sound
Note that the tongue is not used actively to start the note, it is the removal of the tongue which causes the air (already under pressure) to rush out and across the reed into the mouthpiece. This is the same principle as opening a tap to let water out. The water is under pressure, opening the tap removes a valve which allows the pressurised water to gush out. By using this approach there is no need to get into the bad habit of using your throat to control the air. (This is what happens when you cough). Using the tongue as a valve means that your throat can be open all the time and the air pressure can remain under constant pressure from your diaphragm muscles.
Why is tonguing so important?
The start of the note (sometimes called the attack) is what contributes the most to any instrument’s and any player’s individual sound quality. If you record a single note, then edit out the attack potion, it is often difficult to even tell what instrument is playing the sound.
How to tongue
Tonguing the saxophone is very similar to pronouncing the syllable "tu" or "du". Instead of doing this by touching your tongue to the roof of your mouth just behind your teeth, you place your tongue (ideally the tip) against the tip of the reed and release it backwards as if saying "tu". You may find it difficult to use the very tip of your tongue (especially on larger maouthpieces), in which case you get as close as possible to the tip.
Staccato Tonguing
When a series of notes are played with gaps inbetween, that is staccato. If a note is written with a staccato dot, it is played approximately half its normal length.
First of all try this without the saxophone in your mouth. Say "tu", but at the end of the word place your tongue back on the roof of your mouth ready to say it again, but do not resound the "t" as in "toot", nor should you stop the sound with your throat (as in Cockney pronunciation of the word). You must get a clean end to the word and feel the air pressure behind your tongue ready for the next note.
Legato (slurring)
This is when a series of notes are played without tonguing as they go from one to the next. Normally, you should still start the very first note with your tongue and stop the last note with your tongue.
Legato (Soft) Tonguing
This is where there are no gaps between a series of notes (as with legato), but each note note is started with a very light articluation. This can almost sound exactly the same as legato. The aim of this exercise is to be able to tongue a series of notes so that each note flows smoothly into the next with no gap or accent. You should imaginge the start of the note as du
rather than tu
.
- Start on a B as with basic long notes
- Tongue the note repeatedly at a tempo that allows you to play an even tempo
- Imagine this as one long note (remember the cylinder) but with very light almost imperceptible articulation
du-du-du-du-du-du-du-du-etc
Although this is a series of single notes, it's useful to think of it as one long note that is very lightly punctuated by the tonguing:
Each day set the metronome slightly faster, but never so fast that the you cannot maintain an even tempo. Apply this tonguing to scales and other exercises.
Articulating without the tongue.
It is possible to start a note without touching the tongue on the reed, usually for special effects. This can be particlularly effective when playing a slow tune or ballad, but still requires very good diaphragm control or you will be tempted to close your throat to control the airflow. Ending a note without your tongue can give the note a very slight tail off rather than an abrupt stop, also a useful technique which is advocated by many classical soloists.
One special effect which uses a different articulation is the saxophone laugh for which you start the note with a "ka" rather than a "tu".
