II$I'' TO BO[|$I"E AIID TftIPLE $TAOCATO

FOR SAXO PHOI{8, AI{D CLARIi{ET

A RFVOLT]TIOF{ARY SYSTEM
OF RAPtrD DOT]BLE & TRIPLE
F TI\TI'TONGI]EII{G
BY

KTNI{TTFI DOTJSE
Saxophone Soloist with The {Jnited State's Marine Band

"The President's Own"

PRrCE $2.00

M. BARON CO.

1|OI'I TO DOI|BTE AllD TRIPLE $TACCATO

FOR SAXOPHONE AND CLARINET

A REVOL{-]TIOI{ARY SYSTEM
OF RAPID DOT]BLE, & TRIPLE
TONGUEING
BY

KEh{NTTH DO{JSE
Saxophone Soloist with The United States Marine Band

"The President's Own"

PRICE $2.00

M. BARON CO.

Janaqr 9,

19b8

I. Baron Corryary
I fest l+5tlo strret
l{err Tork

19r ller

Iort

G'entlecn:

flrest bod Irru a c db d trlpf

for Sarcpbm d Clrlrt
fnm:.ng llr. Dmeers rHl{tr to ffib d trlpf.e tegrc
sfc d lqld.n
I an sure t*rat hrs
lfruecb ln
eop1afdng hin gyltr d.lt pu lrrfr*f.c to qr
thLs

is

the

tongueiag

pJ-agrer.

-qNF:rdy

trq;11.3r

FEI,{ ADDITIOI\iAI, ADVICES II'I ANS!'TER TO

QUERIES RSCEIVED SINCE PUBLTCATION

In the course of double and triple staccato stud.ies, several difficutties may be
rcou:rlered: i.e. reaching a rrsticking pointrr and bei-ng unable to increase the speed;
:ening ehange of tone between fUH and K[IH; different systems of triple staccato.
?layers finding it difficult to increase
r practice Page l+ as whole notes thusly,

SAX. T---K

their double staccato

r,--Tz--

speed

K,--7,,-

will do well

ETC.
CLAR.
.!ing

\---l

,.---z fVT\=-lkvf

each quarter note ccmnt as an entire measure. Play TUH to start the first rvhole
rte and rffIll going into the following measure. One breath shoulo }ast for sixteen beats.
Lernzle TIIH:IqH on every complete four beats, being sure to play sem:i-sl-urred so that
re tone wiTT-E6Tind as continuous as possible.- Do not make a bonpiete stop between fiJH
C i.il.L. axcept for breathing purposes. If too nmch accent is placed upon TUH-I{UH it will
eo::e heavy and of course ',vill tend to hamper the speed.
To aequire the correct trplaying feelrt of double staccato one must i:nag,ine the air
l'ann flowing through the insirunrent, similar to a film running through a movie carnera,
th ihe tongue acting the part of the shutter.

.ihile it will never be necessary to double staccato slorrly, the apparent slight
in tone bet',rreen TUII and liUH rill have to be endured until the increase j-n speed
d i:oothness of atlacR-Teache3'd- poJ-nt where even a fine musician cannot d.etect dbuble
ange

on srngle staccato.

For nany students it vri]l- be advisable to work on Pages Lr and 5 for perhaps one to
o nonlhs. ,Jith the proper TUH-I':IJH attack well esi;ablished, there should be little
ouble in gradually increasi-n6 the speed. Al-mays remember to take a good breath and
ticulate fron the mouth rather than the diaphraga.
it- good pla.n would. be to keep a recorci of your progress with a metronome. Set the
tronome at approximetely 72 and play two notes per beat alternating TUH-KU}I. Use just
e note anC coneentrate on attack. I suggest this particular note be one of the rnost
slonsj-ve ones on your partj-eular instrunent anci preferably in its middle register.
Iteen rninutes per day of this i,v^ill be anple as a starter and I would suggest even this

crt period be Civideci into several snaller periods.

Every few days increase the metronomers speed a degree or so, bearing in r.rind to
tre tone column flowing, and not attacking to hard rith TUH-KUH. '/lhen higher speeds
re been reached, perhaps I;1.1:. llC'-120, you will notice there is no time for a gap be:en notes and the air column seems continuous. This in turn wil1. reveal to you how
roth and brilllant dor:ble stacca.to can sound.
ap

Personally, double staecato rneant as nuch to me as a n'lan discovering he possessed

r legs which enable him to run, j-nstead of hopping around on one (single) so many /o&rsr
ryent at ieasl a year studying and practicing double staccato before using it in publie
:f orrnances.

A::rong clifferent rrethocis of triple staccato ihe nost

;" b:'?ss instmment sys+.ens, is the

commonly used,

particularly

333
or TKT-TKT.
33
*{
system
I
have
vrhich responds freely and eLiminates
used
TKT-KTK
I"
lm ciouble slaccato TK attaek.

by

(-TTl{

any change.

The chief difficulty lies i-n developing the aceented KUH for the alternating triplets.
-s aecent on KIJH should not be exaggerated except for reasons of rhythn, as ttris wiil
,e a tendency to slow the speed.
Doubl-e and triple staecato
iaue limitations.

is only designed to

enabLe you

to

surpass your single

SECTION

FAST DOUBTE AND TRIPI,E STACCATO

A N TOI,UTIONARY STSTEU OF

Countless sanophonlsts and

encorrntered

ln pleylng

STACCATO FOR SAXOFT{ONE AND CI,AX,I}IET

clartnetlsts are fen{llar rrlth ttre dtfflcrrlties

rapi.d gtaccato passages contalned Ln nunerous pl,eces of

ungtc.

In t'ranscr:tptlone of orctreetral conpooltlong for bande, elarlnetiEts and

saxophordsts are reqdrd to play parts perforred by tne str:Lng sectlons of the
orctrestra.
tr'ast

sple""* *""ages for atrlngs,

rtren transcribed.

for clarjnets

an{

problen. ilhen tle required staccato speed carrnot

be attalred, tbe part's are aItred to aocomodate the plryers by adding E1urs
(tles)r orr as a last resort, tfte utrslc ts played nore slcm\r than the standard
eaxophonear prnesent guJ.te a

teryo.

of conventlonal sLngle
tongue staccato is oflen necssarJr. 41 Ctallodoro, J!ry Dorsey and other
a::tlsts have acbleved phenrenal speed ln staccato plagrlng by employing rtrat
ls crrled, double tongulng. For mnf years lt ras connon belLef that the fenr
players oapable of tnenendous etaccato speed rere freaks and peorltarly blessed
rlth an urueual glft.
Uore speed tban can bo obtafued by the use

lbls

to sbor that angr perfomer rtro Ls rllLing to prrt a

reasonable anount of time on the study of double tongubg, rilt far surpasg the
book J,s designed

greatest speed he ever reactred by arqf nethod of, sS.ngla tongue attaok.

for thE saxophone and clarLnet are oonatant\r

demanding nore from the perforner ln tire way of tectrnlcal brllllance. l[arg
aaxophordsts and clartnetlstE of today can perform varloug composJ.tlons, rhich
yesrst ago nould have been eonsidred. technlcef.qf l.rryosalble because of their
lecy fast etaeeato passagar Ttre Ert of staccato as required. on the oaxophone
l[oderrr utreLc a.nd solog

-'t

Copyright, t9.18 by M. Baron Co., New york

International Copyright Secured
al Di-r.+a D^^^_-^r

of the adrancerent ln fLnger techrdgue. Usually,

1n dance ntretre, a pSayen is not requlred !o uee a Yery raptd staecato; r:evert'?re1ess,
he wilL be at a l-oss when eonfronted rittr a fast staccato psssage beyond his lt-rnl-tatlons. A f,J.antqr staceato i.s alnays a great asset, and ehould be part of a uuaieLanrs
end clartnet, has not kept abreaet

equ!.pnent, partieu3.arly

for bt{Ltlent

Most pJ,ayers are deslrous

oaxophone and

this

of

8o1o8'

elarlnet, ard it bas beea srrggaeted

study

in the art of

of proflclency on t'he
tlrat I devlse thls systen'

reae,hlng a blgher degree

steecat l-e desigred a8 e Eupplerent

to

standard

cl-arinet couraes or rethods. Teachers rLrr flnd lt partletrlarly

for stu4ents rgbo do not bave a rsassnahlJr rapld staecato.
phone and

seJco-

he3'pfuL

ln gemral, fro baYE never t'ried thia systernn

by enalyEfu lt, that tbe laetel? of lt f111 glve tjren

saxophonists ard cS,ariretists,

to thenselves
staecato speed hltberto unsttalnab).e'

ean prove

contrary to nary beltefs, it ls posslble for earcphonlets and clarlnetlsts to

produced on ttre
develop a steceato tbat rill equsl tbe speed and sharpnees of ttrat

tnlrpet and other brasg lnst'rl@nts'

With patiencr trj.a}
can develop a
and

fast,

ad praeti.e, I

c1een, cle.ar-gut and

an thororrgpy eonvinced

that eny one

cmtroll:bLe staceeto on the

saxophone

clarinet.
The convad,lonaL sl-ng1e-t'csg]p

attack,

gTE

or TAE, ls, of cor:rse, the founde-

tlon of aII etacceto. ft,ea fq.ced to tie very hfgbest degree of speedr it wilJ'
playar @aa1 usB
sound tense and reborEd, c@a!d io tlre doubIe-toagulng shleh a
rith ease and ft.eed.e. tbe plsrer fllt do reIL to acquire a reasonably goodt
sha:p, srngl3-tongre steceato bef,ore progr^essing to ttre art of doubl'e tonguing'
be advlEable to
IJnder tl.e guidarce of a coryetent lnstmctor, bcreverr lt tloreld
student"
lnclude doubls as *alL s single t@g$e et'ardtes for the not too advanced
finger
Double-tongultg, of cor:rse, rould rct be practice'I rritAout tlte necessa^ry

technlque ard speed

it requl.res.

Nevertheless,

Lt

seena

to be rEasonable t&rat fln-

ger dexter:Lty and staecato speed ean be developed gl-urltarpousltrr.

Double-tongue staccats ehorrld, rhen properly perfotned, glve a eound

er

and

elariiy thaa that of

of great-

aLngl.e-tongue gtaccato.

;harnness

It ls

produeed by pronorrrclng

tbe rrsual

TUH

(or TA[I) follor,ed lme&lat}y

by

(or KAII). Both attaclce are rnade rrLth the tongue eovering apprord-nately onehalf lnch of the tip of t&e reed. l?re posltLon of ttre tongue varles yer;y }Lttle
for TUH or KtlH, although ttre KUH rIIt origtnate nore fron ttre roof of the moutlr.
KIIII

Alternate firH-KttiI-1tH-KUHr ete.1 alrays startlng

rriti tlre sound ntH.

Pergon-

f--

(ratber than TltH-f,AII), rtrlch gradually, rith lnoreasJ.ng

rrlttr tlre R sllent.
qreed, 6eems to drange into a snoottt[DUCKERT DUCKEBT
Ttre KUH attack at first rrlLl not be easy to produee, and I rould advise not to
practlce jnst KIIII-KIIH-KLH for lqrrovement, but alratrrs TllH-KIlH, etc.
aLLy,

I nreferlryl

of staccato ehoul-d nerrrer be used ften tle nuslc ls reasonably slor

enouglr for slngle-tongulng. HlaJrlng double-tongue staccato too slorly ls Just as
lmpractical as trying to do E{ngle-tongue staccato past oners 11d-t. ltre greatest
asset ln staocato playlne is Ure abill,ty to ctrange fron al.ngle to double-tonguet
and vlce rrersa, ltrLle perfornl,ng. To do this lt beeores neoessarlr to rrshLft
gearert, so to speak, as ehanges ln the speed are requlred rtrile playing. To sln=
pllfy thls one uust develop a double-tongue etaccato tbat ean bE played several. degrees nore slor\r than onets fastest slngle-tongue gtaccato. For exarryle:
T?ris t5rpe

Slng1e-tongue

Stng1e and double

' Slor

Change zone

Dorble tongue

Slngle tongue

Uardnm epeed
Double tongue
lfa:d-mn

Slor

In the follorrlng pages I am settlng for"ttr a serd.es of gradu.ated exerclsee

that rrill, rlt,h dillgent practlee, produce a very fast, eontrolled staccato on the
saxophohe ard clan:lnet" The exercises are not deslgrred as rorks of art, but rattrer
to keep t&e platrrer lntereEted rrtrile atr:trring for riore speed and snootihness of attae,k.

'3-

Saxophone
Andante noderefo (J = 8o)
Tuh hvh tuh kvh tuh hvh tuh

cQ4v:. lo y:l- ,for ctgr'j.aei)

( J, qZ)
-T K T
T,('Tr(

s',

mi

or Clarinef
Kenneflt
huh

tuh kuh

tth Kvh fuh ltuh fuh ltuh

}lepeat od' lib)

'Tt(T

le

sinile

Dou s e

ini le

Copyright, lgrs hy M' Baron Co'' New-York

-{ll Rights Reserred
rn*omcrinnql Coovrieht Secured

7r(

Lenfo nodcrdto (J " ia) Do

rr( r r( Tr( r fi -- sim\ le

not rush

,( .. sin',le

(Clen)

For one rho hae rpver attmpted tttis t5rpe of staccator

lt ls

to practice the firet tro pages of these e:rerclsee datly

for tro or threc reeks before golng to t'he next page, etc. Clar{advLsable

Lento noderqto (J = tZ)

Andanfe mo de rofo

T'TT

(J=u)

tr

l4odcrafo (J = tQ
f |( T,(

( Clar.)

Andqnfe hod,erafo (J = tq)

Anda"fe con nofo (J = qz)t

TX'---

ltf"*.r

f llegrelfo
T
.5

(J = i6) Ineease gradualty fo lot

Allegreffo

eon

,rofo (J = trz)

( Clca)

Andante nodera'fo (J = to)

(c/ar.)

Alleorelfo noderafo (J = W)
JY

fclc

r.

e-ar.)

llegro modercfo (d=1 to tot)

TK...

Allegro eon brio (d= ila to

tao)

T rr7[

T Tfi 7

"l!

r+--{

T7f

Valse espaJnole
TKTK

CJ. = rn

fo

rao)

T fi7

'(

nTKrh
TK

Practlce changing from single to double-tongulng and viee yersa

rhlle

pJaying, by alternately increaslng and decreaslng t}re tampo.

Also prbetlce chenging

at ttre same speed.

AllegTl viraee (J=

flt -

t1A

,tr)

([lar.)

7ts

l^L{
ota,ccalo
va:ri aft'o ns for o6ove eXercises

L.. T r

T rcTn T,(

I Kr

T rcrr, 1-.

A revler of, the preeedlng psges

lrdtcated.

ls nor advlsable,

seales, solos, 6tc.

at

tr

t(

gven greater speeds ttran

as seIL as applying

t*rls knorLedge to

Andante (J

= t't-

rt)

lan net

reg) s fe r
"lJ - /ow