- There are two types of staccato on the saxophone: one that shortens the sound by keeping the tongue on the reed, and another that allows the tone to resonate
- The first method is suited for consecutive staccato passages and fast tempos, where the sounding duration remains the same while the tongue contact time is gradually shortened
- The second method emphasizes clarity of articulation and the attack of each note, and is generally not used at fast tempos
- To increase staccato speed, the goal is to be able to sustain sixteenth notes continuously at a tempo of quarter note = 120
- Gradually increasing the metronome speed through steady practice and maintaining a fast air stream are essential
Saxophone Staccato: Two Types of Technique
There are two types of staccato on the saxophone. The first is a method that shortens the sound duration by keeping the tongue on the reed, which is suited for consecutive staccato passages and fast tempos. The second is a method that allows the tone to resonate, emphasizing clarity of articulation and the attack of each note. To perform staccato effectively on the saxophone, it is important to understand these two methods and use them appropriately depending on the musical context. This article provides a detailed Q&A guide covering the characteristics and effective practice methods for both types of staccato.
Q&A: Saxophone Staccato Practice Methods
Q1: What types of staccato are there?
A: There are two types of staccato on the saxophone. The first is a method that shortens the sound duration by keeping the tongue on the reed. With this method, the sounding duration remains the same while the tongue contact time is gradually shortened. It is suited for consecutive staccato passages and fast tempos, allowing for crisp, articulate playing. The second is a method that allows the tone to resonate, emphasizing clarity of articulation and the attack of each note. This method is generally not used at fast tempos, so there is no need to push the speed too far.
Q2: What are the tips for practicing the first method (shortening the sound duration)?
A: When practicing the first method, it is important to gradually increase the speed. The sounding duration remains the same while the tongue contact time is shortened. Practicing until you can do it consecutively is very effective. Also, if you only practice on a single note, you may panic when playing actual pieces, so it is essential to practice across the entire range. Be sure to practice from high D down to low Db, and then from the D above up to high F#, dividing these ranges across different practice days.
Q3: What are the tips for practicing the second method (allowing the tone to resonate)?
A: The second method also benefits greatly from gradually increasing the speed. However, since this method is generally not used at fast tempos, there is no need to push the speed too far. Instead, focus on clarity of articulation and the attack of each note when playing staccato.
Q4: How can I increase my staccato speed?
A: To increase staccato speed, the goal is to be able to sustain sixteenth notes continuously at a tempo of quarter note = 120. To achieve this, it is important to steadily increase the metronome speed little by little. This is essentially the same as strength training, so raising it one increment at a time is most effective. Also, fast staccato tonguing is absolutely impossible if the air speed drops. Always focus on imagining and producing a fast air stream during your training.
Q5: What should I watch out for when practicing staccato?
A: With the first method, where the tongue stops the sound, it is very effective to check whether any unwanted noise occurs when the tongue stops the reed. Additionally, maintaining air speed is crucial. Fast staccato tonguing is absolutely impossible if the air speed drops.
Practice Menu
- Step 1: Practice the first method (shortening the sound duration). Gradually increase the speed while keeping the sounding duration the same and shortening the tongue contact time. Build up practice to maintain consecutive staccato.
- Step 2: Practice across the entire range. Work from high D down to low Db, and then from the D above up to high F#, dividing these ranges across different practice days. Practicing on a single note alone will leave you struggling when playing actual pieces, so covering the full range is essential.
- Step 3: Practice the second method (allowing the tone to resonate). Gradually increase the speed, but there is no need to push it too far. Focus on achieving clarity of articulation and a clean attack when playing staccato.
- Step 4: Use a metronome to increase the tempo. Set a goal of sustaining sixteenth notes continuously at a tempo of quarter note = 120. Steadily raise the tempo one increment at a time on your smartphone or tuner metronome.
- Step 5: Practice maintaining air speed. Fast staccato tonguing is absolutely impossible if the air speed drops. Always focus on imagining and producing a fast air stream during your training.
- Step 6: Check for unwanted noise. With the first method, where the tongue stops the sound, pay attention to whether any unwanted noise occurs when stopping the reed, and similarly check for noise when releasing the tongue.
Video Information
- Title: [Saxophone] Staccato Practice Methods: A Q&A Guide to Mastering Two Techniques
- Instrument: saxophone
- Level: Beginner
Summary
There are two types of staccato on the saxophone. The first method shortens the sound duration by keeping the tongue on the reed, making it suited for consecutive staccato passages and fast tempos. By practicing to gradually increase speed while keeping the sounding duration the same and shortening the tongue contact time, you can master this technique effectively. The second method allows the tone to resonate, emphasizing clarity of articulation and the attack of each note. To increase staccato speed, set a goal of sustaining sixteenth notes continuously at a tempo of quarter note = 120, and combine steady practice of gradually increasing the metronome speed with maintaining a fast air stream. Practicing across the entire range is also important. Practicing on a single note alone will leave you struggling when playing actual pieces, so work from high D down to low Db, and from the D above up to high F#, dividing these ranges across different practice days.
