volume 3, altissimo range

Backun Alternate Fingerings Volume 3, Altissimo Range

IntroductionThe purpose of this booklet is to maintain our collective curiosity about the myriad of ways to be expressive

with the clarinet. There 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 of these fingerings useful, the

mission of this booklet will be accomplished. More than anything, we would like to encourage you to use

your imagination to further expand on the information given. There are several pages in the back of this

booklet with blank fingering diagrams for you to record 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, on the ability and sensitivity of you, the artist.

How to Use This BookletThe highlighted tone holes are those that need to be covered. Please keep in mind that, at times, alternate

fingerings will call for semi-closed tone holes. The 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 enables them to be. This is a guide to encourage critical musical

thinking and, as such, it should remind us to think of the clarinet as a tool of expression

About Altissimo FingeringsThe following altissimo register fingerings work very well, provided that the proper voicing on the clarinet is

used. For our purposes, the definition of proper clarinet voicing is the combination of a high tongue position

and fast air stream, along with a firm yet flexible embouchure.

Many instruments of the past have had acoustical maladies that made the upper register, beginning with

clarion A, tune sharp. That has required players to lower the tongue position and slow down the air speed

to compensate for the shortcomings in tuning. Making all those adjustments will contribute to an unsteady

embouchure, loss of control of the intonation and deterioration of the quality of tone. The completely re-

engineered bore and tone hole designs found on Lumière, CG Carbon, and other Backun Clarinets virtually

eliminate the shortcomings found on other clarinets.

CG Carbon™

The future and beyond

The world’s most technologically advanced clarinet, the CG Carbon features a body crafted from carbon

fibre with an exotic wood core. Using a patent pending process, carbon fibre is fused to the precision

machined core, resulting in a clarinet with the robust projection and unmatched intonation that Backun

is known for. Years of material analysis and real-world testing have proven the fusion process can endure

wide-ranging temperatures and humidity conditions without expansion or contraction of the clarinet body.

Tonally, the playing characteristics stay true to that of a wooden clarinet with the new Backun Scale. This

signature model, designed for Maestro Corrado Giuffredi, represents a giant leap into the future… and

beyond.

Available in B♭ and A, unstained grenadilla or cocobolo body with gold or silver keywork.

Volume 3, Altissimo Range - Introduction & CG Carbon Clarinet @backunmusical - 2

Volume 3, Altissimo Range - Altissimo G♯ @backunmusical - 3

1. A simple, yet very effective fingering. It responds well at all

dynamics. It has a slightly brighter tone and some players

may voice it high, but with the variations it remains a versatile

fingering.

Example: Messager, Solo de Concours – Cadenza

2. This chromatic A♭ can be a little low on the B♭ clarinet. However,

it works well on the A clarinet.

Example: Ravel, Daphnis et Chloé – Four measures after Rehearsal 219

Messager, Solo de Concours – Cadenza

Strauss, Till Eulenspiegel’s Merry Pranks, Op. 28 – Seven measures

after Rehearsal 35

3. A nicely centered, covered and in-tune fingering.

Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74,

Second Mvt. – m57

Spohr, Clarinet Concerto No. 3, WoO 19, First Mvt. – m81

Messager, Solo de Concours – Cadenza

4. This fingering works well in scale work. *The C♯/G♯ key can help

raise the pitch if voicing the note seems low.

Example: Messager, Solo de Concours – Cadenza

Fingerings for Altissimo G♯BACKUN

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Volume 3, Altissimo Range - Altissimo A @backunmusical - 4

Of the two, 1a is preferable for its ability to slur well. Fingering 1a

also corrects intonation if a player prefers lighter reeds.

Example: Widor, Introduction et Rondo, Op. 72 – Nineteen measures after Più

Largo

Saint-Saëns, Clarinet Sonata, Op. 167, Fourth Mvt. – m105

2. This is a preferred A fingering for the B♭ clarinet.

Example: Rossini, Theme and Variations for Clarinet, Introduction – Fourteen

measures before Allegretto

2a. This fingering works better on the A clarinet.

Example: Ravel, Daphnis et Chloé – Five measures after Rehearsal 219

3. This fingering slurs very well and plays in tune. Depending on

the voicing, it can play a little low.

Example: Rossini, Introduction, Theme and Variations for Clarinet –

Three measures before Allegretto

Bozza, Bucolique – Two measures before Rehearsal 1

1/1a.

Fingerings for Altissimo ABACKUN

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Lumière™

The evolution of Backun

The Lumière takes the clarinet to a level of breathtaking clarity

and focus from the highest altissimo down through the low

register. Less is more, as the Lumière flaunts European flair with

uncompromising intonation and fluidity. Completely redesigned

from the bell up, and the first clarinet to feature the new Backun

Scale, this custom clarinet is a perfect match for those who desire

the highest quality playing experience in a more traditional

French-style instrument.

Available in B♭ and A, unstained grenadilla or cocobolo body with

gold or silver keywork, or silver keys with gold posts.

Volume 3, Altissimo Range - Lumière Clarinet @backunmusical - 5

Volume 3, Altissimo Range - Altissimo B♭ @backunmusical - 6

The next few fingerings are the most sensitive and susceptible to

voicing variations, embouchure and reed strength.

1. This fingering works in most situations, including slurs and

dynamic variations. Depending on one’s voicing, minor

adjustments for pitch can be achieved with the F♯/C♯ key, or

the sliver key. This is notated in Fingering 1a.

Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74,

First Mvt. – m241

Spohr, Clarinet Concerto No. 2, Op. 57, First Mvt. – Eighteen

measures before end of mvt.

Martino, A Set for Clarinet, First Mvt. (1a with F♯/C♯ key)

2. Similar in application to Fingering 1, but easier to slur.

3. Considered the “Long B♭“ fingering. It is best used in louder

dynamics and tends to be direct, centered and bright.

Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74, First

Mvt. – m241

Fingerings for Altissimo B♭

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Q Series™

Classic feel and playability

The Q Series clarinet offers those who prefer a more traditional

French-style instrument the chance to experience the world of

Backun. We combine modern manufacturing techniques and

treatments, including a carbon fibre middle joint ring, with

naturally unstained grenadilla wood and brilliant silver-plated

keywork to produce an instrument with truly familiar feel and

playability. An affordable masterpiece, the Q Series is the classic

choice.

Available in B♭ and A, unstained grenadilla body, silver keywork.

Volume 3, Altissimo Range - Q Series Clarinet @backunmusical - 7

Volume 3, Altissimo Range - Altissimo B @backunmusical - 8

1. The standard fingering. Responds well, but tends to be sharp.

Example: Martino, A Set for Clarinet, First Mvt.

1a. Similar to Fingering 1, this is less resistant but well focused.

2. A warmer quality fingering that is lower in intonation.

3. A fingering that is in tune and easy to slur up to, it has a darker

quality, which makes it easy to match the flutes in orchestral

playing. The optional G# will give you a quicker response, but

will make the note sharper.

Example: Berg, Wozzeck, Final Scene

4. More secure than Fingering 3, this is a good, solid fingering that

responds well, especially on wide leaps. This fingering is perfect

for slurring up to altissimo B. You can also play this without the

A♭/E♭ key if the intonation is too high, but doing so will increase

the resistance.

Fingerings for Altissimo B

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Alpha™

March to your own beat

The Alpha Clarinet is crafted from an ideal blend of synthetic

materials for maximum resonance and durability. Designed

to be the optimal indoor and outdoor student clarinet, it is

at home in the classroom, on the concert stage, or on the

marching field. Professionals and students alike count on the

Alpha for performances where a wooden instrument might not

be appropriate, thanks to its exceptionally light body, durable

keywork and weather-resistant build that ensures years of lasting

playability.

Available in B♭, proprietary synthetic body, silver or nickel keywork.

Volume 3, Altissimo Range - Alpha Clarinet @backunmusical - 9

Volume 3, Altissimo Range - Altissimo C, C#, and D @backunmusical - 10

A Special Note

These are suggested fingerings, but every player and instrument can produce different volumes, response and pitch on a given note. Be sure to explore

as many options as you can to make them work for you.

One of the more common suggestions for making these notes work is to try to remain as relaxed and open as possible with taking in a bit more reed

and mouthpiece to produce such extreme altissimo notes on the clarinet. Players should always think about letting the reed vibrate further down the

chin, rather than creating any undue pressure that may close-off the space between the mouthpiece and reed. The opening should remain as free as

possible to create the optimum speed of reed vibration.

Fingerings for High Altissimo C

1-2. The altissimo C is extremely delicate and is sensitive to voicing

and reed strength. In Fingerings No. 1 and 1a, one can alternate

the A♭/E♭ key for the F♯/C♯ key for individual comfort and

response. While there are many other fingerings available, the

emphasis for this select group is on practicality of use, as in the

Spohr Concerti.

Fingering for High Altissimo C♯3. The High C♯ in the Ginastera Variations can be played on either

B♭ or A Clarinet, depending on your level of comfort. See below

for the Bb version.

Continued from 3. in the previous column.

Example: Ginastera, Variacoiones Concertantes, Rehearsal 24

Fingering for High Altissimo D

4. Alternate fingerings for High D are few and far between, but this

one is a great all-around choice.

The Ginastera example below is for A clarinet.

Example: Ruders, Tattoo for One, Last measure

Many players choose to play this on the A clarinet.

Example: Ginastera, Variaciones Concertantes, Rehearsal 24

Fingerings for High Altissimo C , C♯ , and D

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Backun Barrels & Bells

E♭ Cutback Barrel

Backun E♭ Barrels feature a unique

cutback design that allows the use of

B♭ clarinet reeds on an E♭ mouthpiece,

without the need to trim them. Artists

love how this barrel improves intonation

and flexibility, while stabilizing the

tone of the instrument throughout

all registers. Paired with the Backun

E♭ Bell, this barrel really tames the

savage beast

Available in grenadilla and cocobolo

woods. Designed to fit most E♭ clarinets.

Fatboy Barrel

The Fatboy is at home in the world’s

most prestigious concert halls, famous

jazz clubs, and everywhere in between.

It’s our best-selling barrel, and for good

reason. Artists who are called upon

to interpret a wide variety of music

appreciate the Fatboy Barrel’s unique

flexibility and versatility. Note: In Japan,

this model is known as the Backun

Barrel.


woods. Designed for both B♭ and

A clarinets.

MoBa Barrel

The MoBa Barre l produces an

unmistakable, full-bodied, dark sound

that makes it a favourite amongst

orchestral players worldwide. With

increased resistance and focus, and

an unbelievable ease of articulation

throughout the entire range of the

clarinet, this barrel is a great option for

artists wanting a darker tone. Artists

prefer this barrel for orchestral repertoire.



A clarinets.

Lumière Barrel

The Lumière Barrel offers a sweet,

balanced tone with increased focus and

projection that illuminates every corner

of the concert hall. Elegant curves and

flowing design perfectly complement

its sweet, refined character. Artists

appreciate the incredible richness and

resonance of the Lumière Barrel for

chamber, solo, and orchestral playing.



A clarinets.

Available in grenadilla and cocobolo woods.Designed

for both B♭ and A clarinets.

Lumière Bell

The Lumière Bell features a unique Double Voicing

Groove (DVG) that improves intonation and stability in

the clarion register. A modestly sized bell set between

a carbon fibre tenon ring and a pronounced bell flair,

this wooden work of art is a musical sculpture that

allows the clarinet to sing.



MoBa Bell

Big halls are no match for the MoBa Bell, which is a

powerhouse well suited to orchestral and solo stages.

With a taper unique to the MoBa product line, an

integrated Voicing Groove, and a bold bell curve, the

MoBa Bell offers players exceptional versatility and

projection.



E♭ Bell

Tuning the E♭ clarinet can be a major challenge, so we

designed a bell as fearless as most E♭ players. Adding

yet another dimension of versatility to your impressive

repertoire, the Backun E♭ Bell aligns the registers

and delivers a warm tonal centre to your sound. The

Backun Voicing Groove is standard on all E♭ Bells.

Volume 3, Altissimo Range - Barrels & Bells @backunmusical - 11

Volume 3, Altissimo Range - Additional Fingerings @backunmusical - 12

Additional Fingerings

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Vocalise MouthpiecesBy Hawkins and Backun

Richard Hawkins collaborated with Backun Musical

Services to develop a series of mouthpieces with

tonal ring and clarity that will change the course

of mouthpiece history. Designed using advanced

CAD/CAM software and tested with 3D printing

technology, Vocalise Mouthpieces are crafted on

highly advanced nine-axis CNC machines.

Each mouthpiece helps the player centre

articulation, pitch and altissimo, with impeccable

ease and consistency of voicing. It is the first

mouthpiece of its kind specifically designed to play

well on both synthetic and cane reeds, in strengths

2.5 to 4.5. Designed for all ages and experience

levels, Vocalise B♭ Mouthpieces features a model for

every player and occasion. Complex resonance at a

reasonable price.

R – Close/Short

Evenness and a focus of sound

that sings with ease are two

characteristics of this close

facing mouthpiece that allows

to articulate with reduced effort,

while ringing true with fabulous

clarity.

G – Medium/Medium

A medium faced mouthpiece

that combines exceptional

evenness and round tonal

complexity. The G has a

smoother influence on interval

connections just where you

need it.

H – Open/Long

The most open facing in the

lineup, the H is both smooth

and dark, with ample cushion

for those who need more

robust flexibility throughout

the registers. This mouthpiece

requires unyielding passion in

performance.

Z – Extremely Open/Long

The Vocalise Z was developed

to meet the needs of artists

who prefer mouthpieces with

a larger facing, while offering

s ign i f i cant vo lume and

projection. With a robust tone,

it is reminiscent of more current

European models.

CG – Open/Long

Crafted from a proprietary clear

synthetic material, the Vocalise

CG Mouthpiece is Open/Long,

while giving players a flexible

and vibrant tone. This model

articulates with ease and holds

a clear quality of sound at

extreme volumes.

Vocalise Bb R, G, H and Z Vocalise Bb CG

Volume 3, Altissimo Range - Vocalise Mouthpieces @backunmusical - 13

Visit the Backun Musical Services Website for More Clarinet Resources

Alternate Fingerings for Throat Tones, Volume 1 Alternate Fingerings for Upper Register, Volume 2

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