3. Tongue Ram

Transposition:

Range:

Discussion:

Performers, composers, and researchers can draw parallels between the tongue ram and other contemporary techniques. Firstly, there are two techniques from standard saxophone practice that evoke inspiration and imitation: the slap tongue and the common practice tongue ram. With the mouthpiece, the typical popping sound of the slap tongue is reminiscent of the SWMP tongue ram technique despite their very different means of production. [Demonstrates].

The tongue ram technique can also be produced with a mouthpiece, and it is referred to by the same name. This may cause confusion in determining whether it is intended with or without a mouthpiece; in addition to clear distinctions in notation, succeeding and preceding musical events should give a clear context for the performer to decide what is needed. In The Techniques of Saxophone Playing, Weiss and Netti comment on both option as if they were the same due to their similar means of production, despite them leading to completely different sonic results (Weiss and Netti 2010: 148). Although the actions are similar, the tongue ram with a mouthpiece yields a significantly weaker sound due to the smaller opening the air is forced into.

There are stronger parallels with contemporary flute techniques sharing the same name. The means of production is also very similar. Kientzy posits the historical standpoint that the common practice slap technique served as a catalyst for the tongue ram technique among flutists, subsequently influencing saxophonists to emulate the flute’s tongue ram:  “[The tongue ram] is the mode of playing that flutists use to imitate the slap technique of saxophonists” (Kientzy 2007: 475). In their contemporary guide, The Techniques of Flute Playing, Carin Levine and Christina Mitropoulos-Bott elucidate three approaches to employing the tongue ram technique. The second is interesting for my discussion here. According to Levine and Mitropoulos-Bott, in this approach “the embouchure hole is completely covered with the lips […] [and] with a strong thrust of air, the tongue is propelled into the embouchure hole where it is stopped” (Levine and Mitropoulos-Bott 2003: 28). This is the same method of production used by saxophonists.

According to Weiss and Netti, the tongue ram is the “staccato of ‘alla tromba’ playing” (Weiss and Netti 2010: 149). ¹ However, this assessment seems only partially correct. Fundamentally, the tongue ram and trumpet sounds techniques are related because they both exploit the closed-end air column properties of the saxophone tube. The tongue ram is essentially the undeveloped fundamental harmonic of the trumpet sounds technique. However, after examining the sonic material from these two techniques, there are distinguishable discrepancies in the resultant pitches. For example, on the alto saxophone, the F4 fingering produces a sounding A3 plus a quarter-tone with the tongue ram technique. With trumpet sounds, the same fingering produces a G#3 plus an eighth-tone. Let me demonstrate that for you. [Demonstrates difference]. A performer or composer would have to ignore this microtonal difference to understand Weiss and Netti’s claim that the tongue ram technique is simply the staccato of the trumpet sounds technique. However, imagining the tongue ram technique as the staccato of trumpet sounds is useful despite the inherent pitch differences. Saxophonists can leverage this to gain insights into the specific pitch they should target when employing the trumpet sounds technique. (Consult the transposition charts for each technique to ensure accuracy).

While the tongue ram technique remains effective across all saxophones, it is noteworthy that, as the tessitura ascends, the resulting sound tends to diminish in strength. The decrease in diameter and length of the saxophone tube as the register ascends is the contributing factor to the diminishing sound in higher registers. Both Kientzy (Kientzy 2007: 475) and Weiss and Netti (Weiss and Netti 2010: 148) express a similar viewpoint, suggesting that the tongue ram technique is most effective when applied to the lower registers. Kientzy asserts that the tongue ram technique exhibits greater effectiveness on larger saxophones (Kientzy 2007: 475). While this evaluation holds true in general, it should not dissuade composers from incorporating the tongue ram technique with alto or soprano saxophones.