A key-click, also known as a key-pop, is the percussive sound made when quickly depressing the saxophone key. The result of a key-click varies immensely from instrument to instrument. The saxophone does produce specific key-click pitches, however, they do not correlate to the pitch associated to the fingering. In general, the larger the saxophone, the more effective the key-click.

Simply finger the saxophone without blowing air. You may notice that the key-clicks are different if you have your mouth on the mouthpiece.

A tongue-ram is a hollow-pitched air sound.

Write tongue ram over the desired pitch.

A tongue-ram is achieved by sealing the embouchure and ramming your tongue into the mouthpiece. It is most effective when done from a middle C# to the bottom of the saxophone. While there are specific pitches, they do not correlate with the notes that one would finger. When notating, I suggest notating the desired pitches, in transposed pitch, letting the performer decipher the ideal fingerings.

Breath sounds are the sound of air moving the saxophone without allowing the reed to vibrate.

While there a variety of ways to notate breath sounds, it is clearest if the composer simply writes “breath only” or some other verbal instruction that instructs the performer to what they want.

Breath sounds are created by blowing into the saxophone without allowing the reed to vibrate.

While each note does have a specific timbre, there are many ways to vary a pitch. If you want a variety of breath sounds, I suggest notating the contour of a line as well as low middle and high. This way the performer can make sure the results are relative to each other.

A double trill is a very rapid trill.

I suggest that composers simply write “double-trill” over the notes they want to utilize the technique.

A double trill is produced by using two fingerings to trill, instead of one. I like to think of the fingers as running on the key. Like a human running, the fingers do not simply go up and down, but go slightly forward and push backwards. Practice by walking the fingers on the key and then running them.

Trumpet sounds are the sounds on the saxophone produced while buzzing the lips on the neck of the saxophone without the mouthpiece. This technique can also be realized with the mouthpiece on and the reed off.

When I am working with a composer that wants to utilize this technique I simply ask them to write the words “trumpet sounds” over the pitches that should be played with this technique. I like for the pitches to be written in the transposed pitch of the saxophone I am playing, this way I can quickly refer to the notes on the saxophone.

Take the mouthpiece off of the saxophone. Then blow onto the neck of the saxophone while fingering a low Bb. Experiment with a variety of embouchure’s to achieve different pitches. Those with experience playing brass instruments will have a sure advantage. I suggest practicing long tones using a low Bb fingering and then playing chromatic scales to see what happens. If you are interested in using this technique with a composer, make a note of what is possible for you to do and share it with the composer.

Teeth on reed is an embouchure that allows the saxophonist to produce very high as well as loud pitches.

Start by forming a normal embouchure. Then, gently place the teeth where the lip would normally go. Next, seal the embouchure an gently blow. Experiment with moving the teeth up and down the reed as well as the teeth pressure. With practice it is possible to produce predicable and stable results.

Double tongue is a synthesis of two articulations that allows one to articulate at a higher velocity than with a single tongue articulation. The two articulations are: the standard articulation of starting the note with the tongue. The second articulation is produced towards the back of the throat.

There are many syllables one can use to articulate a single tongue. Accordingly, there are a multitude of articulations to achieve the double-tongue. I suggest learning the four below. I include the secondary articulation ending in a “t”, because by ending with your tongue you are ready to start the next note immediately; enabling the fastest articulation possible. There are many ways to build speed in the double-tongue articulation. I suggest starting by mastering your secondary articulation. You can do this by practicing this articulation on one note as well as by playing scales. Make sure to do this throughout the range of the saxophone and at all dynamic levels. If you are not able to achieve a flawless secondary articulation, your double-tongue will be doomed before you begin. After you have mastered your secondary articulation, you can begin with the synthesis of the two techniques. I suggest starting on one note and practicing the four variations of the double-tongue articulation slowly and evenly. Do not be afraid to make the secondary articulation quite harsh compared to the primary articulation at first. It is crucial that each be a clearly defined articulation. Make sure to practice in double and triple meter as well. Do this with a metronome as well as practicing accelerando and ritardando. To gain maximum speed practice the articulation in two syllable bursts as fast as you can while maintaining good diction. Then try to put these bursts together. When this is done in succession, you should be able to achieve very rapid articulation in succession. Now that you can articulate in a variety of ways on one note, you are ready to change notes. The key to success making sure that you fingerings line up with the articulation. When practicing double-tongue myself, if I am having difficulty achieving optimal clarity, more often than not, it is because my fingers are not in perfect alignment with my articulation; not because my articulation is not clear. I suggest learning to play double-tongue articulations on different notes two and three notes at a time. Then slowly build scales and intervals.

Growling is an effect that distorts the tone of the saxophone. It yields a result that is similar to “flutter-tongue”, but a bit more crude, with a less-direct and less-focused sound.

Write growl over the notes you want to utilize the technique. This way there is no confusion with the notation for flutter-tongue.

Growling is achieved by creating a low-hum while closing the throat, similar to gargling or trying to clear something stuck in your throat. To learn to growl, simply play a middle C on the saxophone and try to gargle while playing. This should distort the sound. Another way to achieve a growl is to play a middle C and hum a very low pitch. Both should yield a growling effect.

Flutter tongue is the technique of rolling your tongue while blowing through the saxophone. It can be done while playing with “breath sounds” or with normal tone. It distorts the pitch, yielding a result similar to a growl, but more consistent.

Start by playing a middle C long tone. Then, without changing your embouchure, roll your tongue. At first it may be quite wild sounding and difficult to control. I suggest making sure that the tip of the tongue remains pointed towards the middle of the reed. This way, your tongue is already in place when it comes time to articulate.