Progressive Studies in Double-Tonguing

with explanatory annotations

by Preston Duncan

This study presents the writer's progressive studies book entitled Progressive Studies in Double-Tonguing for

Saxophone Volume I. This book is intended for advanced saxophonists with little or no experience in double-tonguing.

Elements of difficulty and complexity are added as the saxophonist progresses through each exercise. Most of the

progressive elements are explained in the book as needed for the readers conceptual comprehension. For purposes of

concision and clarity other elements are not included in the version intended for publication. This study includes

annotations presented in red to explain the progressive elements which are not included.

There have been many publications addressing double-tonguing for instruments other than saxophone.

Unfortunately, the pedagogical literature for saxophone double-tonguing is devoid of substantive material. As the technical

capabilities of saxophonists are pushed ever forward, more saxophonists have discovered a need to develop this technique.

Composers have been writing music that requires double-tonging for thirty years and some saxophonists have been quick to

respond by learning the technique from the very limited available resources. Some of these resources include Youtube

videos, private instructors, method books for other instruments, and other instrumentalists. The technical challenges

specific to double-tonguing on saxophone are often poorly addressed if not completely absent from existing resources. It is

the goal of this book of progressive studies to clearly address these saxophone-specific challenges and provide a complete

set of progressive exercises for aspiring saxophonists to learn this technique.

The writer's knowledge of saxophone double-tonguing has been developed through working with private

saxophone teachers and personal experimentation. These teachers include Eugene Rousseau, Donald Sinta, John Sampen,

Jean-Yves Fourmeau, Claude Delangle, Kenneth Radnofsky and George Wolfe. A few of these teachers do not use this

technique, but they have helped develop and refine the writer's double-tongue technique by providing critical feedback and

suggestions. A review of the double-tonguing literature for other instruments found that beyond the basic technique, most

of the instrument-specific material is inapplicable to saxophone.

Introduction

This book of progressive studies is designed as a method and guide for advanced saxophonists to develop and

maintain effective double-tonguing technique. Each study is progressively more difficult and instructions are given as new

challenges are introduced. It is the authors firm conviction that double-tonguing technique should only be adopted by

advanced saxophonists who have a firm grasp of traditional single articulation and technique. These studies are intended to
be repeated so that the saxophonist can build up and maintain the muscular strength and agility required for effective

doiuble-tonguing.

Throughout this book the student should play every exercise slow enough, at first, to allow use of a single

articulation. The initial use of single articulation will allow for an important critical comparison between the sounds of the

single-tongued and double-tongued articulations. A tempo range is given at the beginning of each exercise. The student

should begin with the slowest tempo and gradually increase to the quickest given tempo or faster. When the tempo

increases beyond the students ability to use a single articulation for comparison, the single articulation portion of the

exercise may be discontinued. There are no breath marks given in the exercises as the breaths will be determined by the

speed at which the exercises are executed. .

The Basic Motion “dee-gee”

The first half of the double-tongue technique is the same as the traditional single articulation. The syllable “dee” is

an effective verbal model to understand the general shape and movement of the tongue. The tip or just above the tip of the

tongue should contact the reed enough to stop it's vibration, but no so hard as to produce any sound other than the

saxophonists tone. In this manner the tongue defines the beginning of the sound by allowing the reed to vibrate.

In the second half of the doble-tongue technique the tongue does not come into contact with the reed, but rather

interrupts the airstream enough to stop the reeds vibration. The syllable “gee”, pronounced like “geese”, is a good verbal

model to understand the general shape and movement of the tongue. The middle of the tongue comes into contact with the

roof of the mouth as far forward, towards the front of the mouth, as comfortably possible.

Progressive Studies
-Play the following exercise using only the “gee” syllable as legato as possible. The “gee” is indicated with a diamond

symbol above the note.

1.) “gee” whiz

-Now try the above exercise using only the “dee” syllable.

-Try to make the “gee” syllable sound as much like the “dee” syllable as possible.

Many of the exercises are designed to be played in small sections to allow for a critical comparison of single and double-

tongued articulations..

For exercise #2 and #3 each figure is played three different ways.

1. Single articulation, “dee-dee”

2. “dee-gee”
3. “gee-dee”

The “dee” syllable should be used when no diamond symbol is present.

2.) The basic motion

Now try example above with each note of a one octave G major scale starting on low G.

-The longer notes are an important element because they give the student the opportunity to reestablish their normal
airstream. One of the most difficult aspects of double-tonguing is the ability to maintain consistent and focused air

direction.

-The first exercises use a legato articulation. The saxophonist's tone is largely determined by the direction of the airstream

and the air-direction is determined by the shape of the tongue. When executing the “gee” syllable it is natural, at first, for

the tone quality to be disrupted by the motion of the tongue. The student must learn to minimize this disruption by

performing the “gee” action with as quick and efficient a motion as possible. The legato articulation reveals inefficiency in

the the “gee” motion. This is indicated to the student by the sound of tonal distortion. The interval between legato notes is

much shorter that that of a staccato articulation and therefore much more revealing of inefficiencies. A good double-tongue

requires a focused and minimally disrupted air stream.

3. ) Faster!
4.) Compound meter
 The above exercise presents each figure with three patterns of articulation. The third pattern has the performer start

the pattern with the “gee” syllable. To be effective at double articulation the saxophonist must be able to execute a variety

of patterns. Including this pattern at the beginning of the learning process will give the student more agility when executing

difficult musical passages later on.

In this exercise triplets are introduced for two reason.

1. A double articulation of a triplet subdivision develops agility and mental flexibility.

 2. Practicing triplets will mitigate the natural tendency to condense duple rhythms when using a double

articulation.

For the next exercises play through using all three articulations.

1. Single articulation
2. “dee-gee”
3. “gee-dee”

5.) Now your getting it!

Notice that the high B is more difficult to play without distortion when using a double-tongue. Make sure to keep

the air moving and the articulation legato. While challenging, the high B can be double-tongued without distortion.

This is the first exercise where all three versions are not written out. The student is given instructions for the

execution of the two versions starting on “dee” and “gee” in addition to the suggested single articulated version for critical

comparison.

This exercise introduces 3 new elements to the double articulated material:

1. Stepwise movement
2. Extended duration
3. High B

6.) Faster and longer

 The low E in this exercise may more easily crack or jump up an octave when using a double-tongue. As with all

double-tongued notes, make sure to keep the air moving and that the tongue and embouchure do not become tense and rigid.

It is natural to unintentionally tighten the embouchure and air-stream when performing difficult passages, but detrimental to

do so.

Three new elements are introduced in exercise #6:

1. Stepwise movement with sixteenths

2. Extended duration
3. Low E
7.) Triplets in E major

Make sure to keep the air moving through intervallic leaps. The air stream should be constant and never

interrupted by closing of the throat or completely stopping the air.

Exercise #7 introduces double articulated intervals up to a perfect fourth by dotted-quarter..

In exercises #8 and #9 only double-tongue the sixteenth notes as shown. Placing the “dee” syllable on the strong

beats sounds more natural in duple meter. For these exercise there are two “dee” articulations in a row.

There are fewer breaks in this exercise which means less recovery time. Keep practicing until this this exercise can

be played all the way through without distortion of the tone. It may take many days of practice to increase tongue strength

enough to accomplish this. The tongue is muscle and requires daily effort to increase strength and agility. It is a good habit

to dedicate the last ten minutes of your last practice session of the day to pushing the tongue muscle to the point of fatigue

three or four times with short breaks in between. Never push so hard as to create significant discomfort. Remember to

always focus on producing your most desirable tone.

8.) Strong beat “dee”

Exercise #8 introduces four new elements:
 1. Dynamics (terraced)
2. Extended duration of double articulated sixteenths
3. Less time for recovery
4. Increased tempo

9.) Sounds like music!

Exercise #9 introduces double-tongued intervallic leaps up to a perfect fourth in compound meter and non-terraced

dynamics. All exercises from this point have an overall gradual increase of tempo.

10.) Moving on the eighth

Exercise #10 introduces eighth note pitch motion with double-tongued sixteenth notes.

11.) Moving every eighth

As the tempo increases be sure to stay relaxed and always produce your best tone.

12.) Keep on a roll!

#12 is the first exercise that serves to reenforce previously introduced elements without introducing new ones. All

proceeding similar exercises will not have annotations.

13.) Staccato
 Now try exercise #13 with a legato articulation. Do you notice and that as the speed increases the distinction

between legato and staccato becomes less audible?

Staccato and low D# are introduced in exercise #13. The performer is instructed to play the same material with a

legato articulation. The purpose of this variation is to make the student aware that the faster the tempo, the more

indistinguishable the two articulations.

14.) Staccato too

15.) Staccato threes!

Be sure to keep comparing both the double articulated patterns beginning on “dee” and “gee” with a single

articulated version.
Exercise #15 introduces low D and staccato triplets.

16.) Fanfarish

Exercise # 16 is the first exercise with triplets in duple meter.

17.) High C

If high C becomes distorted while using a double-tongue let a small amount of air escape from the corners of your

mouth. This technique will help all otherwise distorted high notes in the normal register on all saxophones up to high F#.

On the next exercise begin double-tonguing on the first note of every sixteenth note group.
18.) Mixing it up

Exercise #18 introduces three new elements:

1. Mixed legato and staccato articulations

2. Duple groupings in compound meter
3. Sixteenth note sextuplets

For the net exercise be sure to give emphasis to accented notes with the air and not a heavier articulation. The

tempo marking “AFAP” stands for “AS FAST AS POSSIBLE”.

19.) Crank it up!

Now try exercise #19 with a staccato articulation.

The starting tempo of 120 bpm is used because most advanced performers are able to articulate sixteenth notes at

or close to this speed. In addition to allowing the desired single articulation comparison, it is roughly the median speed at

which performers will engage the double-tonguing technique.

20.) Articulated trill

 Now try exercise #17 with a staccato articulation. Notice that the distinction between legato and staccato becomes

imperceptible at around 152 bpm. It is beneficial to always “think” legato when playing staccato as doing so will help keep

the articulation from becoming too forceful. For the remainder of the exercises play a variation of each in which you play

legato as staccato and staccato as legato.

Exercise #20 introduces articulated sixteenth note movement. To simplify the starting tempo is much slower and

the sixteenth note changes are limited to repeated major and minor 2nd's.
21.) Stepwise triplets

Exercise #21 introduces stepwise motion in triplets with compound groupings.

For the next exercise it may help to subdivide in eighth notes at a slow tempo before going too fast. It is acceptable

to use a single articulation on the all of eighth notes if you start the exercise on the “dee” syllable. When you begin the

exercise on “gee” the first eight note should be the “gee” syllable.

22.) Duple triple

 Exercise #22 presents a very difficult combination of duple and triple in terms of grouping and rhythmic feel. The

duple motion of the double articulation increases the difficulty even more.

To mitigate the overall difficulty, the elements of dynamics and expanded register are reduced.

In the next exercise make sure that the higher articulated notes are clear with a centered tone.

23.) Higher Still

The above exercise introduces high C#.

24.) How low can you go?

 It is natural when playing difficult passages or sections to begin to tighten the embouchure and otherwise become

more tense. Remember that this tendency will make double-tonguing more difficult, especially on low notes. Tightening

up while double-tonguing a low note will cause the pitch to go up an octave or partial of the harmonic series. The idea is

stay relaxed AND supported.

The above exercise introduces low C.

The following excerpt is from the violin repertoire, but has become a popular encore piece for the saxophone. The

performance tempo given is Allegro vivace. It is a good technique to begin double articulation practice at half the tempo

of the projected performance tempo. Increase the practice tempo in small increments until you reach the desired tempo.

Slow and deliberate practice will pay-off in the long run.

25.) Czardas
 At this point in the progressive studies some well-known repertoire is introduced. These pieces reenforce learned

skills and serve to make the studies more enjoyable for the student.

26.) Five for onCe

Exercise #26 incorporates an extensive use of thirds.

27.) See low

28.) Hora Staccato!

The next exercise is good for building strength. At the end of a practice session play this exercise until the tongue
becomes fatigued. After a short break, repeat to conclude the practice session. The secret to effective double-tonguing is

tongue-muscle strength and agility. This exercise is also very good for warming up and maintaining the muscles required

for double articulation.

29.) Getting strong now!

As you progress to wider intervals and faster speeds continue to be aware of the importance of finger speed and
accuracy. With so much focus on the tongue, the tendency is to often overlook finger speed accuracy. There are three

dynamic levels given at the beginning of the previous exercise. It is a good idea to constantly vary your dynamic level

when practicing double-tonguing. When playing quietly in the low register remember to use good air support. There is no

articulation given so be sure to vary the articulation as well.

Exercise #29 is a typical warm up and maintenance exercise that the performers can use throughout their career.

The new element introduced is a nearly constant progression of thirds.

30.) Czardas II
31.) Go fourth!

Exercise #31 introduces the interval of a fourth.

32.) Crazy fourths!

 The above exercise is a simple pattern over a I-IV-V-I progression. Play the following patterns in the given key

and then transpose the patterns to other keys. Can you play all of the patterns in every key with writing out the

transposition? Make sure to vary the dynamics and articulation.

33.) Patterns

Try writing your own patterns that help develop an aspect of your double-tonguing technique.

Exercise #33 is designed to encourage the student to begin to develop their own exercises.

Start the next exercise with “gee” on the pick-up note. This will place the “dee” on the strong beats for the entire

exercise. There will be many scenarios where it is advantageous to start with the “gee” syllable. As you progress be aware

of the importance of examining the entire exercise before deciding on a particular articulation pattern. There are times when

an early compromise allows great advantage further along.

34.) Sound familiar?

35.) High “dee”

36.) To be
Exercise #36 introduces low B.

37.) Hieeeeeee

Low B and high E are are the highest and lowest notes addressed in this book. .

There are some double-tonguing situations where it is necessary to use multiple patterns to achieve the best

outcome. This is usually due to technical limitations of register, but can also, as mentioned previously, be used to delineate

strong beats or accented notes. In general, if there is a wide leap to a note in the upper register above high B or the lower

register below low F it is a good idea to plan to leap from and land on the “dee” syllable. This is helpful because the tongue

position for the “gee” syllable makes the quick register change very difficult. This will require several single “dee”

articulations in a row. Because the single articulation is much faster in short bursts than lengthy passages this will not result
in a significant loss of speed. There are also instances where using a single “dee” articulation for two or more notes will

allow the “dee” to land on a strong or accented beat. The performer must consider these factors when determining the

articulation pattern.

The suggested articulated patterns for exercises #38 and #39 are only one possibility. As the saxophonist becomes

more proficient at double-tonguing these considerations will change. For example, a beginner may decide to use a single

articulation on all of the upper and lower register notes that are most difficult to play without distortion.

38.) Change it up!

39.) Change it up low

 The next two exercises are excerpts from the standard repertoire. The first, “Fantasia”, by Heitor Villa-Lobos is

written for Bb soprano or tenor Saxophones. For the purposes of this study the student may choose to use alto or baritone

saxophone. Remember that the given articulation patterns are only suggestions. The student may choose to alter the

articulation pattern to fit his or her preference.

40.) Excerpt from the third movement of “Fantasia”

The next excerpt is from “Caprice en forme de Valse” by Paul Bonneau. The articulations have been altered to

make the passage more difficult. The unaltered section from msrs. 5-8 requires four “dee” articulations per measure and

only one “gee” articulation. This is a good example of how few “gee” articulations are required to achieve a significant

increase in tempo.
 There are many places in the saxophone repertoire where one can use the double-tonguing technique. Please be

sure to inform composers of your increased articulation speed so that they will write the most challenging and virtuosic

music possible.

END OF BOOK

Conclusion
Progressive Studies in Double-Tonguing for Saxophone Volume I is intended to be a concise

and well organized set of exercises for saxophonists to learn the double-tongue technique. The

pedagogical literature for saxophone has no similar material. It is the writer's hope that this book will
be a useful addition to the saxophone pedagogy and contribute to the development of saxophone

performance.

The second volume will contain more difficult and musically cohesive etudes to further develop

the saxophonist's double-tongue technique. It is the writer's intent to collaborate with composers in the

creation of the etudes for the second volume. In addition, an audio recording of the exercises in

Volumes I And II will be completed to further enhance the educational experience of aspiring

saxophonists.