How to Slap Tongue on the Saxophone

Slap tonguing is an extended technique that has been used for over a century! It has been used by saxophonists as far back as the Brown Brothers’ 1917 recording of The Darktown Strutters’ Ball, Rudy Wiedeoft in his 1926 recording of Sax-O-Phun, Siguard Rascher’s “Pizzicato Tonguing” in the cadenza of Ibert’s Concertino da Camera, and is now a commonplace technique in contemporary saxophone repertoire. The technique can now be heard in works by Lauba, Denisov, Bolcom, Yoshimatsu, David, and Michat, among many others!

When learning to slap tongue, it is important to first understand the mechanics behind what generates the “slap” sound. Essentially, through creating suction on the reed using your tongue, the reed will be pulled away from its position on the mouthpiece until the tension breaks and the reed “slaps” back, hitting the railings of the mouthpiece. This is what creates the percussive effect of the technique.

Depending on the context of the music in which you will be performing this technique, one of two types of slap tonguing will be executed. One is commonly referred to as an “open-mouth” slap tongue while the other is known as a “pitched” slap tongue.

The “open-mouth” slap tongue is executed solely through the suction on the reed, as previously mentioned, with the addition of opening the mouth as the tongue pulls the reed away from the mouthpiece. This puts more emphasis on the percussive side of the technique, projecting the slapping sound with little to no inclusion of any pitch.

In contrast, the pitched slap tongue, as the name infers, provides more room for different pitches to be heard to accompany the percussive effect. This essentially is completed through keeping the mouth shut, embouchure in place, and adding a small burst of air also known as an “air dart” simultaneously as the tension of the reed releases to slap the mouthpiece. The result will be similar to the sound of boomwhackers.

Below are the steps to help develop this technique:

1. Create suction with your tongue on the roof of your mouth.

Before adding any part of the instrument, isolate the movement of the tongue. Place your tongue on the hard part of the roof of your mouth - this is your hard palate. Create suction between your tongue and hard palate. When you bring your tongue back down, there should be a light “pop” or “clicking” sound that is produced.

2. Create suction with your tongue on the reed instead of the hard palate.

Place the tongue against the heart of the reed. Here, the tongue should create a cup-like formation, which will create the vacuum needed for the suction Without moving the tongue, move the reed up and focus on the sensation of the tension and release.

Next, instead of moving the reed away from the tongue, move the tongue away from the reed. When attempting this, focus on keeping the tip of the tongue pressed against the heart of the reed and move the back of the suction cup down and away from the reed. Hold the reed firmly in place so the reed can build tension as it is pulled down by the suction. When the tension of the reed breaks, there will be a soft pop again. Practice this until it feels natural.

***Note: It may be easier to start with a larger reed such as a tenor or baritone saxophone reed for saxophonists and a bass clarinet reed for clarinetists. This provides more surface area to which the tongue may latch on.***

3. Try Step 2 once more with the neck and mouthpiece setup assembled, replacing the lone reed.

When adding the entire mouthpiece and neck, the goal is to be able to create the suction and pull the reed away from the mouthpiece with the proper embouchure remaining stationary throughout.

• When first attempting this step, it will most likely be easier to add a bit more mouthpiece than normal without engaging the embouchure yet, as this will allow more of the tongue to be used. As this becomes easier, gradually use less of the tongue until the embouchure is able to be engaged without the tongue protruding from the sides of the mouth.

***Note: The mouthpiece and neck should enter the mouth at the same angle it would if it were attached to the rest of the instrument!***

4. Attempting the Open-Mouth Slap Articulation

Not much will change in this step except the opening of the mouth. Here, with the top teeth always grounded in the top of the mouthpiece, as they normally would be, drop the jaw to open the mouth as the tongue pulls the reed away from the mouthpiece. With the mouth being open as the reed slaps back against the railings of the mouthpiece, the popping sound will be greatly amplified, thus executing the open-mouth slap articulation. No air is required!

5. Attach the body of the saxophone to the neck and attempt steps three and four with the entire horn.

This will limit the mouthpiece to entering the mouth at a fixed angle. If the angle is different from before the entire instrument was assembled, there may be a brief transition period as one becomes accustomed to the correct angle. Ideally, the correct angle should be used even before the entire instrument is assembled, but if there is a difference when shifting to this step and it is difficult to fix, return to step three being mindful of this.

6. Attempting the Pitched Slap

Now that the entire instrument is assembled, there is only one last piece of the puzzle! As mentioned, to produce a pitch to accompany the slap sound, an “air dart” is needed and must be done with the mouth remaining closed and the proper embouchure remaining stationary. - If necessary, practice the slap articulation a little more before adding air to familiarize yourself with the sensation of performing the slapping sound with the embouchure remaining intact throughout. - Finger a low note on the instrument. The lower the better! - Simultaneously provide a short burst of air or “air dart” as the reed slaps back against the mouthpiece. - As mentioned, the finished product should emulate the sound of boomwhackers when done correctly.

Learning how to slap-tongue can be a challenging feat! It will help to practice this on reeds that are not yet broken-in or on a reed that may be a bit too hard for normal playing. If you struggle with getting the popping sound, but you can create the suction, try a newer or harder strength reed instead!

Remember: If the tongue, embouchure, or anything else begins to feel fatigued at any point, take a break! You are building muscles you are not used to using!

As you begin to develop this new technique, remember that it is normal for this process to take an extended period of time and will likely require consistent practice for days or weeks on end. The odds of developing this skill within a day are very slim, so be sure to enjoy the process!

Happy Practicing!

*Citation: Youssef, Anto. 2008. “Hard Palate | Studio Dentaire.” Studio Dentaire. August 25.

Jonathan Dufresne has been invited to perform internationally in Austria, Netherlands, Canada, and several venues across the United States, including Carnegie Hall. He also performed as a soloist with the Illinois Wind Symphony, Hindsley Symphonic Band, Danville Symphony Orchestra, LMEA Orchestra, St. James Episcopal Choir, and the LSU Jazz Ensemble.

Recent accomplishments include second prize in the 2023 MTNA Chamber Music Competition, second prize in the 2023 Krannert Debut Artist Competition, first prize in the 2022 UISO Concerto Competition, first prize in the 21^st Century Talents International Solo Competition, finalist in the 2021 Coltman Chamber Music Competition, and semi-finalist in the 2021 Fischoff Chamber Music Competition.

Strongly valuing versatility, Jonathan is regularly hired to perform alongside cover bands and occasional celebrities, such as Ginuwine, Robin Thicke and Ben Folds, for corporate events, festivals, and sporting events, including the 2020 Allstate Sugar Bowl in New Orleans, Louisiana.

As an educator, he has held several teaching positions as saxophone instructor across Louisiana, and maintained a private studio of 11-15 students, many of which have participated in LMEA All-State ensembles.

Jonathan holds a BM from Louisiana State University and an MM from the University of Illinois Urbana-Champaign. Currently, he is pursuing a DMA in Saxophone Performance and Literature at UIUC under the tutelage of Debra Richtmeyer, with additional study under Chip McNeill. Jonathan’s former teachers include Griffin Campbell, Doug Stone, and Jennifer C. Foret, with additional study under renowned composer/arranger and jazz bassist, Bill Grimes.