We are playing an overture in the band, and it is getting to be a little too fast for me to tongue (sixteenth notes at 132ish). Do any saxophonists double tongue for classical literature?
Only when needed. I prefer to paintbrush tongue, but I can double tongue on alto's. 16th's at 132 shouldn't be all that bad, and I find double tongueing while moving to different note to be rather difficult, so I just learned to tongue faster
Sure, it's a viable option IF you can do it with very little difference between your T and K (or D and G) syllables. Delangle does it, as do many, on the 4th mvt. of the Decruck Sonata, and Al Gallodoro used it very effectively on the last page of the Bonneau Caprice.
What is paintbrush tonguing? I will start practicing, right now the fastest I can tongue is sixteenth notes at around 112-116 but I am still working on and improving on tonguing faster.
When you take your tongue and go up and down over the tip of the mouthpiece. It's the only way to double tongue that I've found on a bari because the mouthpiece goes so far into your mouth.
In the mid-70's Larry Teal let me hear this while visiting his home. It's Ted Hedvik playing the music of Rudy Weidoeft. This is the CD Baby page where you can order the cd, but LISTEN to the expamples. It was after I heard this that I decided to learn to double-tongue. http://www.cdbaby.com/cd/hegvik
For classical pieces, I prefer to not use double-tonguing unless specified by the piece or the conductor. Double-tonguing alters the tone of the notes being played and of course, tends to accent certain notes over others which might cause you problems blending in with other instruments who might have that same rhythmic passage.
Double-tonguing alters the tone of the notes being played and of course, tends to accent certain notes over others which might cause you problems blending in with other instruments who might have that same rhythmic passage.
Not if done well. If well executed you shouldn't notice any difference. Check the Habanera Quartet for evidence.
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