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themselves may simply create confusion unless their use is guided by a well-developed musical sensitivity and insight. T h e inner vision we have of music, not just digital expedience, must always guide our technical choices. When teachers encourage their students to develop such objective insight, unclouded by the various limitations and conventions of clarinet technique, much will be put into perspective. Such a sensitivity, once awakencd, always strives for morc than just technical ease, but demands a perfectly satisfying artistic solution to every technical problen~.
I believe that when this inner vision of music becomes the touchstone from which all development takes place, playing music and playing the clarinet will become unified in a way not otherwise achievable. Considering the deep human drive for and the rich resources of the clarinet, we need not settle for less, both as an ideal to strive toward and a reality to achieve, if but fleetingly. Thomas Ridenour, 1986
Foreword to the S ixth Printing When "Clarinet Fingerings..." was first written in 1985 I did everything I knew to make it thorough in content as well as easy and convenient to use. It has now gone into its sixth printing, has had sustained sales for almost a decade and a half and is now being used by a generation of clarinetists who were hardly out of diapers when it was first written. Everywhere I go I find clarinetists and educators who tell me how useful the book continues to be to them. "I keep it on my stand all t h e time." is a comment I frequently hear. Fifteen years, in the sum of things, is not even a particle of a particle, but in this world which is drastically changing at such an alarming rate, fifteen years seems almost an eternity. I am grateful it has lasted this long, and hope that it continues to benefit both the educator and performer as w e launch into the uncharted waters of the twenty-first century. Tom Ridenour, Jan. 2000 A.D. Denton, Texas
Throat Tone Fingerings
1. This is a good resonance fingering useful in slurring to
and from C? and in combination with A' resonance fingering No. 1. The quality of this fingering is further improved by using low F# rather than low F when it is technically convenient. 2 This resonance fingering is not as good as Ab' No 3, but is convenient to use in conjunanon with throat tone A' ho 3 3 This fingering has the happy ana rare minccdence of be.ng both the simplest and the best Its simplicity mares it useful in most every situation and its beauty is selfcraaent. Suggested uses: Brahms. Sonata #2, mvt. 2, ms.1-3
A' 1. This is a very good fingering, especially slurring to
C?.
2. This fingering really does not have the resonance that other combinations have, but it is aviable fingering when nothing else is possible. 3. This is the darkest and most resonant combination for A'. It is unfortunatelyme most complex and is too awkward for complicated or rapid passages. Suggested uses: Brahms, Sonata #2, mvt. 1, ms. 1 Brahms, Sonata #2, mvi. 1, ms. 22-23
1. This is the darkest and most resonant of the combinationsforBb'. This combinationis also verygood with the side key Bb, which significantly improves its resonance, although it is a bit of a stretch for the right hand. Suaaested uses: &d;;ms, Sonata #2, mvl. 1. ms. 2 Blahms, Sonata # 1, mvt. 2. ms. 9 B 11 Debussy. Premdre Rhapsodic, ms. 2 2 Th:s is an adequate fingering, especially useful in
combination with Ab' No 2 and A' No. 2.
3. A simple and yet very resonant fingering, this is especially useful with the side key Bb because the right hand is free to reach unhindered. Suggested uses: Weber, Concerfo X I , mvt. 1, ms. 86
The fingering combination below is suggested in playing to the lower clarion from the side key throat Bb:
from this position is All that is required to play movement of the left hand thumb and index finger. This method may seem needlessly complicated, but a few serious attempts usually demonstrate how it simplifies rather than complicates many passages. An ideal passage for the initial practice of this method is the fdlowing clarinet solo from the Finale of the Beethoven Septet, opus 20:
After learning this passage confidently, the following problematic material may be tried: Debussy, Premi&re Rhapsodic, opening measures Brahms, Sonata #2, mvt. 1 Bmhms, Sonata # I , mvts. 2 and 3 Initially, most players notice that their right hand fingers experience a sense of vertigo when the thumb is taken from its rest. Sometimes it expedites the learning process to anchor the little finger of the right hand to the low F key, using it as a point of orientation. Practicing in front of a mirror during the initial stages will also help to quickly achieve a sense of security.
1. The standard fingering for B2, this tends to be sharp on most clarinets. 2. This fingering tends to be sharp, but manageable in pitch. It is very useful when perfect upward slurs to c#' or d are required. This fingering is not dependable in soft attacks. Suggested uses: Brahms. Sanafa # 2 mvt. 1, ms. 115
3. This fingering is very useful in soft passages. Though a bit unstable, it can be played well in tune. Its blowing resistance is too great to make it useful at louder dynamic levels. Suggested uses: Brahms, Sonara #2, mvt. 1, ms. I 8 & 150
1. This fingering is dark in -lor and has good blowing resistance without being siufty. k is very easy to attack, especially at son dynamics. Technically it is most usefu. as a trill fingering from 8b' to but it is also good in F and Bb scales wnen it is the top note of the passage
6,
Suggested uses: MorM. Trio, mvi. 3. ms. 11-13 after letter Z 2. This fingering is useful in soft anacks and legato passages. It is faulUess in legato passages which c;oss to or from the lower altissimo. Although it is somewhat awkward to learn,it is well worth the trouble. It is very full in timbre and a bit sharp in pitch, but very manageable. Suggested uses: Weber, Quintet, mvt. 1, opening clarinet pitch Saint-Sa&s, Sonala, mvt. 1, ms. 16 Brahms, Sonaia #l, mvi. 1, ms. 58, 149 Brahms. Trio, mvi. 2, ms. 1 Schumann. Romances, mvt. 1, ms. 7 & 2 measures before letter C Debussy. PrernGre Rhapsodic, 5 measures after number 3 Schumann. Phantasieswke, mvt. 2.ms. 25 3. This fingering is sharp, but responsive
4. This fingering is well in tune, but can only be used at
medium dynamic levels. Its tendency is to produce undertonesatsofter dynamics and its resistanceprevents its being used at louder levels. its awkwardness limits its use to mnvenient slurs at medium dynamics. 5 Tn~sflngerlng
e very responsive at mob1 all dynamlc levels although there ,s a sl~ghttendency to produce a h nl of an undertone a1 extremely solt dynamlc levels Suggested uses: Poulenc. Sonafa, mvt. 2, opening measures
6. This fingering is very well in tune, but very subdued in wlor. Its extra blowing resistance makes it ideal for extremely son playing. It can also be used as a trill from B2No. 3 at whisper dynamics with no fear of undertone.
1. This is the standard fingering for CX'. It tends to be
somewhat bright and resistant. Although it is easily played at full and medium dynamics, it does not hold its color well at a son volume. 2. like all of the fingerings vented by the open thumb, this fingering is full and dark in timbre. It is easily anacked at
all dynamics and is responsive in even the widest of leaps. It is especially g o d in son passages. Suggested user: Lkbussy. Premi6re Rhapsodie. 11 measures before number 6 Finzi. Five Bagatelles, mvt. 1, 1 measure before number 3 Schumann, PhanrasiesWke, mvt. 2, ms. 35 Poulenc, Sonata, mvt. 1.7 measures aner number 6
3. This fingering is somewhat bright and thin in timbre, but may be deepened and darkened by adding the len hand ring finger and low C# key. It is best used in rapid passages where its tonal deficiencies are not apparent and in C? to CX' trills. Suggested uses: Lkbussy. Premidre Rhapsodie, 7 measures afier number 10 Brahms, Sonata # I , mvt. 2, ms. 100 Poulenc, Sonata lorGI. & Bsn., mvi. 1. 1 measure before number 1 4. Thinness of timbre and flatness in Ditch charaaerize -~ this ~~~
~
fingering. This flatness may be sdmiwhat mitigated by adding the low Eb side key. It is best used in very quick passages where timbre and tuning are not cr;t:cal. suggested uses: Benjamin. Le Tombeau de Ram;, 9 measures aner number 1 Milhaud, Sonatine. mvt. 3,5 measures before number 17
5. This is the standard trill from : 'B Suggested uses: Sfravinsky, Three Pieces, mvt. 3. ms. 4 6. This fingering is well in tune and flute-like in quality. IIis most useful in son passages.
Suggested uses: Lkbussy, Premiere Rhapsodie, 2 measures before number 6 7. This fingering is similar to CX' No. 4. it is a bit brighter and bener in tune, yet it is not as facile in rapid passages. 8. This fingering is best used as a soMt,#llfrom covered fingering for 6' is used.
when me
to. This.is verv similar to d No. 9. in tonal and .~~~. - resnonm characteretics, but is not as secure al son dynamics. It is faullless in rapid passages from the upper clarion and is especially good in combination with E No 14 Suggested uses: Weber. Ouintef, mvt. 4. 16 measures before lener K 11. This fingering is flute-like in tone quality and very responsive in slurs and soft anacks. Suggested uses: d in the slow mvts. of the Mozart Concern and Mozan
$?:
closing phrases of the Brahms Quintet, mvt. 2
12. This combination has tonal and respanse characteristics similar to Na. 11, but is a bit more awbard.
d
13. This is a very dark fingering and low in pitch. lis advantage is that it is responsive even at the sofiest dynamic levels. 14. This fingering is similar to
d No. 3, but is a bit darker
and somewhat lower in pitch.
10. This note is bright and sharp, but is a brilliant trill from CIb3to €b3. 11. This one is very full in timbre, well in tune, and is responsive in most situations. n is most useful in slursto and from the upper clarion. 12. This note is very IIoII and dark in pitch and although it i s a bit awkward, it is flawless in anacks as well as slurrtng t has no peer in r i d e slurs and legato passages.
--==--~-- ---Debussy. Pmrniire Rhapscdre. 2 measures aher number 2 R 2 measures atter number 3 Nielsen. Concern. 17 measures aher number .W Reger. Ouintet, mbi 3. ms 5
13 Tnis fingering is bright and responsive in quick slurs, but it .s too freeblowing for sec~rltyin soit anaclcs.
14. In this instance the pitch is achieved by overblowing throat Ab. Iis thin, bright, and slippery in pitch, but i s very useful in rapid passages. Suggested uses: Cooke, Three Songs of Innocence, mvt. 3.1 measure before number 3 Piston, Concern, ms. 340 Bartbk, Contrasts, mvt. 1, ms. 45 Pouienc. Sonata. mvt. 1, ms. 4 Stravinsky, Fimbird, 4 measures after number 11 15. This fingering is similar to D Y No. ~ 7 in both response and usage.
lo. Bright, but quick in response, this fingering may be darkened by the addition of the low For E key. 71. This note is ereellent In tuning and response at all
dynamic levels. Suggested uses: Prokotiev. Sonata, mvi. 1, ms. 1 12. This fingering is similar to E' No. 3
13. This combination is similar to E~No. 4, but is darker and benet for playing soft, sustained tones. k is not as stable in pitch. 14. This is similar lo E~No. 10, but is a litfle lower in pitch.
The low Ab whisper key may be added in some instances. Suggested uses Suavinrhy. LHismire du Soldat, Musigue de la Premiere Scene. 1 measure before number 13 (Usewrih d # 10) 15. This fingering is faultless in soft attacks and is beautifully in tune. ll provides too much resistance to use effectively at louder dynamic levels, but slurs well. Its awkwardness limits ih use to slow passages and there is always the danger of bumping the side key below it. The more daring may find it more secure to depress the side key with the right thumb while resting the clarinet on the knees. Suggested uses: Prokofiev, Sonata, mvi. 1, ms. 1
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10. This pitch is very flat and its awkwardness limits its usefulnew. 1 1 Excellent tun~ng,good response, and bright coloration
are the main features of thislingering. The side keys may be omitted maklng thls a viable trlll trom A'. 12. This fingering is flat, but full. k requires considerable voicing to play well in tune.
13. This fingering tunes well. The top side key may be added or subiracted as necessary. 14. The timbre of this pitdl is very full and warm and it is only a shade low in pitch. It is excellent from covered F and responds well in both attacks and slurs at all dynamics.
15. This note is very flat and its response is sluggish.
16. Thin-sounding, but well in tune, the right hand sliver key may be substituted for the side key in this fingering.
Appendix of compositional examples Alwyn. Sonata for Clarinet and Piano. Boosey & Hawkes
Muczynski, Time Pieces for Clarinet and Piano, Theodore Presser
Bartok, Contrasts for Violin, Clarinet, and Piano, Boosey & Hawkes
Nielsen. Concerto, op. 57, Kistner Pierne, Canzonena, op. 19, Leduc
Benjamin, Le Tombeau de Ravel, Boosey & Hawkes Berg, Vier Stucke fur Klarinene and Klavier, op. 5. Universal
Piston, Concerto for Clarinet and Orchestra (reduction for clarinet and piano by the composer), Associated Music Publishers, Inc.
Bernstein, Sonata for Clarinet and Piano, M. Witmark & Sons
Poulenc, Sonata for Clarinet and Piano, J.&W. Chester Ltd.
Brahms. Klavier Trio, op. 114. C.F. Peters
Poulenc, Sonata for Clarinetand Bassoon. J.& W. Chester Ud.
Brahms, Quintet in b minor, op. 115, C.F. Peters Brahms, Sonata # I in f minor, op. 120, No. 1, C.F. Peters Brahms, Sonata #2 in Eb Major, op. 120, No. 2, C.F. Peters Castelnuovo-Tedesco, Sonata, op. 128, Ricordi Cooke, Three Songs of Innocence, Oxford Press Copland. Conceno for Clarinet and String Orchestra. Bwsey & Hawkes
Prokofiev, Sonata, op. 94 (transcribed and edited for Bb Clarinet and Piano by Kent Kennan), Ludwig Music Publishing Co. Reger, Quintet, op. 146, C.F. Peters Rozsa, Sonatina for Clarinet Solo, op. 27, Rongwen Music Saint-Saens. Sonatepour Clarinene et Piano, op. 167, Editions Durand & Cie. Schubert. Der Hirt auf dem Felsen, op. 129, G. Schirmer
Debussy, PremiGre Rhapsodic, Durand & Cie. Finzi, Five Bagatelles, Boosey & Hawkes
Schumann. Phantasiestucke for Clarinet) and Piano, G. Schirmer
Violin (or
Franpaix, Conceno pour clarinene et orchestre, Editions Musicales Transatlantiques
Schumann, Three Romances, op. 94, G. Schirmer
Hindemith, Sonata for Clarinet and Piano, Schott
Stravinsky, Firebird Suite
Messiaen. Quatuorpourla Fin du Temps, F.T. Durand
Stravinsky, L'Histoire d o Soldat
Milhaud, Sonatinepour Clarinene et Piano, Durand & Cie.
Stravinsky, Three Pieces, J.& W. Chester
Mozart, Concefto in A Major, K. 622
von Weber, Concerto # I , op. 73, Breitkopf und Hartel
Mozart, Kegelstan Trio, K 498, International
von Weber, Quintet. op. 34, Lienau
