2. Air Pitch

The mouth and lips should remain in a relaxed and natural position depending on the vowel or consonant shape that is asked. Kientzy describes the lip shape as if one were blowing out a flame (Kientzy 2007: 453). This is an excellent way to think about the air pitch technique; however, one should not be limited to the pressure that this imagery represents. The lips and subsequent air pressure variations can function as a sound distorter as well as a pitch creator. By subtly changing the pressure of the air, the balance of airy sound versus the amount of pitch can change drastically. Developing the technique even further, one must develop flexibility in the lips in order to be able to create disparate sounds and timbres.

Changing Vowel and Consonant Colors:

It is important to become fluent in changing the shape of the mouth in various vowel or consonant colors while performing the air pitch technique. While a “pure” air pitch sound – meaning one without any specified vowel or consonant shape – is often asked, other times a specific mouth shape is demanded. For a pure air pitch technique, the performer should keep a relaxed yet consistent vowel shape to the lips, adjusting the pressure according to the dynamic. With textural changes such as morphing the vowel shape from “ahhh” to “ohhh“ to the consonant “ffff,” for example, one should exaggerate the evolution between these various vowel and consonant shapes to best produce a distinguishable listening experience while also respecting the dynamic contour and rhythm demanded by the composer. I will slowly demonstrate this change for you. [Demonstrates]. I will demonstrate that change a little bit faster now. [Demonstrates].

Exhalations vs. Inhalation:

While most manuals on saxophone technique discuss the difference between inhaling and exhaling air sounds, without the mouthpiece the distinction is not as evident.  Mostly all air pitch sounds are produced with exhalation. Only when the lips are enclosed around the neckpiece can a proper inhalation sound occur. The sonic result is, however, close to the sound when exhaling. What changes, especially when a lot of pressure is used, is the timbral result. [Demonstrates].

Dynamic Range:

The balance between the airy sound and resultant pitch is crucial for effectively producing air pitch techniques. A relatively large dynamic range is possible. Without any amplification, the technique can be performed from niente attacks to f, ff or even louder. However, this dynamic scaling is relative to the technique and should not be considered equivalent to common practice saxophone playing.

Articulation:

Single Tongue:

Articulation variance is also possible. Tonguing must be adapted from traditional forms of playing. However, the tongue should avoid touching the neckpiece itself – this will create a pseudo tongue ram. The tongue should approach the articulation in much the same way that one produces the consonant shapes and attacks without the saxophone, for example “Too Too Too Too,” or “P P P P,” “F F F F,” or “Kah Kah Kah Kah.” [Demonstrates sounds].

Double Tongue:

Double tonguing is also possible and easily achieved in comparison to traditional playing techniques since there is an absence of resistance created by the mouthpiece.  Here again, a composer can demand many different consonant variations. Here I will demonstrate the “Too Koo Too Koo” and “Duh Guh Duh Guh” attacks. [Demonstrates].

Flutter Tongue:

As an additional articulation structure, the flutter tongue technique is effective here as well, and does not pose problems either for the front rolling or back rolling “r” sounds. The intensity of the flutter tongue will also affect the air pressure balance. For this reason, for softer sections in which pitch must be present, it is best to employ the back rolling “r” instead of the front rolling one. The back rolling “r” possesses a less effective sound. I will demonstrate both of these now. [Demonstrates].