fingerings for throat register - clarinet

8/17/2019 Fingerings for Throat Register - Clarinet

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MoBa AlternateFingerings forThroat Tones

By Ricardo Morales



IntroductionTe purpose of this booklet is to maintain our collective curiosity

about the myriad of possibilities to be expressive with the clarinet.

Tere have been many books on fingerings printed in the past.

Hopefully, there will be many more in the future. However,if you are able to find even one fingering useful, the mission

of this booklet will be accomplished. More than anything, I

would like to encourage you to use your imagination to further

expand on the information given. Tere are several pages in the

back of this booklet with blank fingering diagrams for you to

discover your own alternate fingerings, or to share with your

colleagues. It should also be noted that some fingerings may

vary in effectiveness, depending on the brand of instrument and

mouthpiece played, and ultimately, the ability and sensitivity of

you, the artist.

How to Use This BookletTe highlighted tone holes are those that need to be covered.

Please keep in mind that, at times, alternate fingerings will call f

semi-closed tone holes. Te highlighted keys are the ones that

need to be actuated.

It is very important to understand that, while having alternate

fingerings is useful, they are only as useful as one’s level of

musicianship and sensitivity. Tis is a guide to encourage critica

musical thinking and, as such, it should remind us to think of th

clarinet as a tool of expression.

Good luck,

Ricardo Morales

Principal Clarinet, Te Philadelphia Orchestra

Co-Developer, MoBa Clarinets and Accessories by Backun

Clarinet Faculty, Te Curtis Institute of Music

Clarinet Faculty, emple University



About Throat Tone Fingerings

Because the throat notes use the shortest amount of the bore

to resonate, it is advisable to use resonance fingerings that can

elongate the tube to improve the tone, solidify the intonation

and smooth the transition to the upper register. In this case, it isadvisable to choose fingerings that can be used consistently.



Open G

1 2 2a 3



Throat A♭

Fingerings for Throat A♭

1. A warm, solid fingering that can be the “standard” fingering, as

it blends well, and works well the with A and B♭. Tis fingering

also slurs well to the upper clarion and matches, in color, with

long B and C.

Example: Debussy, Première Rhapsodie – m5

Bartok, Te Miraculous Mandarin – m14

(through the rest of the solo)

1a. For the excerpt below, use this alternate fingering.

Example: Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. – m36

(if performed on B♭ Clarinet)

2. A duller fingering that can be used to ease the transition to

the upper register.

3. Te clearest, most powerful and versatile fingering for A♭.

Example: Nielsen, Concerto for Clarinet and Orchestra , Op. 57 [D.F.129]

First Solo

Shostakovich,Symphony No. 1 in F Minor , Op. 10:

1. First Mvt. – First 3 measures after Rehearsal 1

2. Second Mvt. – Five measures after Rehearsal 1



Throat A♭

1a 2 31



Throat A

Fingerings for Throat A

1. A very warm and useful fingering, and one that works

especially well on the neighboring half-steps A♭/B♭ to create

evenness and smoothness. Tis fingering transitions well to

the upper register.

Examples: Debussy , Petite Pièce – m1

Debussy , Première Rhapsodie – m12

Beethoven , Symphony No. 6 in F Major , Op. 68, First Mvt. –

Solo Before G, mm291–297 and Solo After K, m477, mm480–481

1a. Similar to above with a slightly different resonance.

2. Dark and focused, this fingering also tends to have more

glow and works well slurring to C and B. It tends to be a little

sharper than Fingering 1.

Example: Weber, Concertino in E♭ Major , Op. 26 – Introduction


3. A very resonant, dark and clear fingering. While it may be a

awkward, with practice it can become one of the standards

It slurs well to the upper register and is extremely stable for

intonation and is flexible in color.

Example: Finzi, Five Bagatelles: II. Romance – m1

Brahms, Clarinet Sonata No. 2 , Op. 120, No. 2 – m1

Weber, Clarinet Concerto No. 1 in F Minor , Op. 73,

Second Mvt. – m1

Puccini, osca, E Lucevan le stelle – Solo


Example: Brahms, Symphony No. 3 in F Major , Op. 90, Second Mvt. – m

Berlioz, Symphonie Fantastique , Op. 14, Tird Mvt. –

Five measures after Rehearsal 43



Throat A

1 1a 2 2a 3 3a



Throat A (cont.)

Fingerings for Throat A

3b. Less resonant, but a lovely, dark sound at softer dynamics.

Recommended for delicate passages.Example: Finzi, Five Bagatelles: II. Romance

4. Not as resonant as Fingering 3, but it will still stabilize the

pitch and is useful when a passage requires resonance.

Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Fifth Mvt. –

Solo, mm3–4

5. Similar in both color and resonance to Fingering 3, but may be

easier to access in different passages.

Example: Beethoven , Symphony No. 6 in F Major , Op. 68, Tird Mvt. –

mm124–125

Shostakovich , Symphony No. 1 in F Minor , Op. 10, First Mvt. –

Second Measure after Rehearsal 1



Throat A (cont.)

3b 4 5



Throat B♭

Fingerings for Throat B♭

1. Good standard fingering. Works well when playing

neighboring A♭ or A.

Example: Debussy, Première Rhapsodie – m5

2. Perhaps the best overall fingering for Open B♭. Tis fingering

is resonant, clear and keeps the intonation lower and more

stable.

Example: Sibelius, Symphony No. 1 in E Minor , Op. 39, First Mvt. –

Beginning Solo, m5

Puccini, osca, E lucevan le stelle – Solo

3. Tis fingering is especially warm. It tends to be sharper than

Fingerings 2 or 4, but blends well, especially in passages that

have the throat A.

4. Clear and resonant. Slurs well to the upper register. It also

works with the side trill key B♭.

Example: Shostakovich, Symphony No. 9 in E♭ Major , Op. 70, Second M

Solo – m8, m10

Sibelius, Symphony No. 1 in E Minor , Op. 39, First Mvt. Solo –

Weber, Clarinet Concerto No. 1 in F Minor , Op. 73,

First Mvt. – m86

4a. Not as resonant as Fingering 4, but works well in intimate

passages.

Example: Brahms, Clarinet Sonata No. 1 , Op. 120,

No. 1, Tird Mvt. – Beginning



Throat B♭

1 2 3 4 4a



Additional Fingerings




Ricardo Morales is one of the most sought

after clarinetists of today. He joined Te

Philadelphia Orchestra as principal clarinet

in 2003, having held the same position

with the Metropolitan Opera Orchestra

since the age of 21, under the direction of

James Levine. His virtuosity and artistry as

a soloist, chamber and orchestral musician

have been hailed and recognized in concert

halls around the world. He has been asked to

perform as principal clarinetist with the New

York Philharmonic, the Chicago Symphony

Orchestra and at the invitation of Sir Si mon

Rattle, as principal clarinet with the Berlin

Philharmonic. He also performs as principal

clarinetist with the Saito Kinen Festival

Orchestra and the Mito Chamber Orchestra,

at the invitation of Maestro Seiji Ozawa.

A native of San Juan, Puerto Rico, Morales

began his studies at the Escuela Libre de

Musica, along with his five siblings, who are

all distinguished musicians. He continued

his studies at the Cincinnati Conservatoryof Music and Indiana University, where he

received an Artist Diploma.

He has been a featured soloist with many

orchestras, including: the Metropolitan

Opera Orchestra, the Chicago Symphony,

the Cincinnati Symphony, the Indianapolis

Symphony, the Seoul Philharmonic and the

Flemish Radio Symphony. During his tenure

with the Metropolitan Opera Orchestra,

Mr. Morales soloed under the baton of

James Levine in Carnegie Hall and on two

European tours. He made his solo debutwith Te Philadelphia Orchestra in 2004

with Charles Dutoit and has since performed

as soloist on numerous occasions.

An active chamber musician, Mr. Morales

has performed in the ME Chamber

Ensemble series at Carnegie’s Weill Recital

Hall with James Levine at the piano, at

the Santa Fe Chamber Music Festival, the

Philadelphia Chamber Music Society, the

Seattle Chamber Music Summer Festival,the Saratoga Chamber Music Festival,

on NBC’s Te oday Show, and with the

Chamber Music Society of Lincoln Center.

He has performed with many distinguished

ensembles such as: Te Juilliard Quartet,

the Pacifica Quartet, the Miró Quartet, the

Leipzig Quartet and Te Kali chstein-Laredo-

Robinson rio. He has also collab orated

with: Christoph Eschenbach, André Watts,

Emmanuel Ax, Jean-Yves Tibaudet, James

Ehnes, Gil Shaham and Kathleen Battle. Mr.Morales is highly sought after for his recitals

and master classes, which have taken him

throughout North America, Europe and

Asia. In addition, he currently serves on the

faculties of emple University and th

Institute of Music.

His performances have been met wit

critical acclaim. Te Philadelphia Inq

hailed his appointment to Te Philad

Orchestra, stating that “in fact, may

represent the most salutary personn

of the orchestra’s last decade.” He wa

praised by Te N ew York imes as h

“... fleet technique, utterly natural mu

grace, and the lyricism and breath co

of a fine opera singer,” Mr. Morales w

singled out in Te New York imes r

of the Metropolitan Opera’s produc

Berlioz’s Les royens, describing his p

as “exquisite” and declared that he “d

a place onstage during curtain calls.”

His debut solo recording, French Por

is available on the Boston Records

label. Morales’ recent recordings inc

performances with Te Kalichstein-L

Robinson rio and also with the Paci

Quartet, which was nominated for a

Grammy Award. In 2004, Mr. Morale

forces with internationally recognize

musical instrument designer, Morrie

to develop MoBa, a line of profession

clarinets and clarinet accessories by BMusical Services.

Ricardo Morales



MoBa Clarinets

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Ricardo Mora

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[email protected]

www.backunmusical.com

Credits: Ricardo Morales, Content; Joel Jaffe, Concept & Production; Warren Neily, Design; Nathan Garfinkel, Photography

Visit the Backun Musical Websitefor More Clarinet Resources:

MoBa Alternate Fingerings for the Upper Register

MoBa Alternate Fingerings for the Altissimo Range

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