A Comprehensive Guide for the Performer and £ducator iii (01050 3746Appendix of compositional examples ‘Alwyn, Sonata for Clarinet and Piano, Boosey & Hawkes Bart6k, Contrasts for Violin, Clarinet, and Piano, Boosey & Hawkes Benjamin, Le Tombeau de Ravel, Boosey & Hawkes Berg, Vier Stiicke fiir Klarinette and Klavier, op. 5, Universal ‘Sonata for Clarinet and Piano, M. Witmark Brahms, Klavier Trio, op. 114, CF. Peters Brahms, Quintet in b minor, op. 115, C.F. Peters .. Brahms, Sonata #1 in f minor, op. 120, No. 1, CF. Peters Brahms, Sonata #2 in Eb Major, op. 120, No. 2, CF. Peters Castelnuovo-Tedesco, Sonata, op. 128, Ricordi Cooke, Three Songs of innocence, Oxtord Press Copland, Concerto for Clarinet and String Orchestra, Boosey & Hawkes, Debussy, Premiére Rhapsodie, Durand & Cie. Finzi, Five Bagatelles, Boosey & Hawkes Frangaix, Concerto pour clarinette et orchestre, Editions Musicales Transatlantiques Hindemith, Sonata for Clarinet and Piano, Schott Messiaen, Quatuor pour la Fin du Temps, F.T. Durand Milhaud, Sonatine pour Clarinette et Piano, Durand & Cie. Mozart, Concerto in A Major, K. 622 Mozart, Kegelstatt Trio, K. 498, International st Muczynski, Time Pieces for Clarinet and Piano, ‘Theodore Presser Nielsen, Concerto, op. $7, Kistner Pierné, Canzonetta, op. 19, Leduc Piston, Concerto for Clarinet and Orchestra (‘eduction for clarinet and piano by. the composer), Associated Music Publishers, inc. Poulenc, Sonata for Clarinet and Piano, J.8W. Chester Lid. Poulenc, Sonata for Clarinet and Bassoon, J.& W. Chester Ltd. Prokofiev, Sonata, op. 94 (transcribed and edited for Bb Ciarinet 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-Saéns, Sonate pour Clarinette et Piano, op. 167, Editions Durand & Cie. ‘Schubert, Der Hirt auf dem Felsen, op. 129, G. Schirmer Schumann, Phantasiestiicke for Violin (or Clarinet) and Piano, G. Schirmer Schumann, Three Romances, op. 94, G. Schirmer Stravinsky, Firebird Suite Stravinsky, L’Histoire du Soldat Stravinsky, Three Pieces, J.& W. Chester von Weber, Concerto #1, op. 73, Breitkopf und Hartel von Weber, Quintet, op. 34, Lienau6 7 7 7 Homogenizing the Middle Break 8 B.. 1 Cs. : eS Homagenizing the High Break ” sageings “4 6 8 28 3 Ads Be Extreme Altssimo 34 Bs. 35 Cc 37 CH, 35 D4 4 Diy on Ey. “ Additional Fingesing 6 Appendix of Compositional Examples. 5s Other books by Thomas Ridenour ‘Tom has also written “The Educator's Guide to the Clarinet,” a complete method of teaching the clarinet, and “Clarinet Basics,” an exercise book based upon the teaching material in “The Educator's Guide to the Clarinet.” “Clarinet Basics” is scheduled for publication release in March of 2000.‘it e ft [fete $s B1@ OF) 1 1nroat 1one tingerings a This a gogd resonance fingering useful in sasing to and from C* and in combination with A? esonance fingetng No. 4 "The quay of ts figerng eter Improves by using tow Fe rather han low P when is {echwicaly Convener Tis resonance fingeng is not as good as Ab! No. 3, but {i convenient to use in conjunction with throat tone A! No.3 This fingering has the happy and rare coincidence of boing both the simplest and the best Hs simpicity makes ‘useful in most every situation and its beauty 1s set evident Suggested uses: Brahms, Sonata #2, ant. 2, ms. e This is avery good fingering, expecially sturing to C’ This fingering really does not have the cesonance that ‘ther combinations have, butte a viable fingering when potting elze ts possible, ‘Thisis the darkest and most resonant combination for A {tis unfortunately the most complex and i to awhoard for complicated or rapid passages, Suggested uses: Brahms, Sonata #2, vt 1, ms. 4 Brahens, Sonata #2. mvt 1, ms. 22.29, ev! This is the darkest and most resonant of the ‘combiatons (or Bb This combination i azo very good ‘withthe side key Bb, which significantly improves is fesonance, although itis a bit of a stretch for the right hand. Suggested uses: Brahens, Sonata #2, md. 1, me. 2 Brahms, Sonata #1, ret. 2, me. 9 & 11 Debussy, Premiére Rapsodie, ms. 2 This is an adequate fingering, especially useful in combination with AD" No.2 and A! NO. 2 [A simple and yet very resonant fingering, this is especially useful withthe sige key Bb because the ght hnand fs fee 0 reach unhindered, Suggested uses: Weber, Concerto # 1.1m. 1, ms. 86The fingering combination below is suggested in playing to the lower clarion from the side key throat Bb: All that is required to play C? from this position is 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 following clarinet solo from the Finale of the Beethoven Septet, opus 20: After learning this passage confidently, the following problematic material may be tried: Debussy, Premiére Rhapsodie, opening measures Brahms, Sonata #2, mvt. 1 Brahms, Sonata #1, 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 litle finger ofthe right, hand to the low F key, using it as a point of orientation. Practicing in front of a mieror during the initial stages will also help to quickly achieve a sense of security‘The standard fingering for B?, this tends to be sharp on most clarinets ‘This fingering tends to be sharp, but manageable pile ts very useful when perfect upward slurs to C# ‘FD are required. This fingering is not dependable in soft attacks. ‘Suggested uses: Brahms, Sonata #2, mvt. 1, ms. 115 ‘This fingering is very uselul in soft passages. Though a bit unstable, i can be played well in tune. ts blowing fesistance fe too great to make it useful at louder dynamic levels. ‘Suggested uses: Brahms, Sonata #2, mvt. 1, ms. 18 & 150, e: This fingering is dark in color and has good blowing resistance without Being stufly. is very easy to attack, ‘especially a soft dmnamics. Technically its most useful ‘38a tl lagering from Bb: to C’, but tis also good in F land Bb scales when its the top note of the paseage, Suggested uses: Mozart, Tri, al 8, ms, 11-13 after letter Z This fingering is useful in soft attacks and legato pascages, Nis fauliess in legato passages which cross {o or from the lower altssim, hough itis somewhat ‘awdoward to Tear, ie well worth the trouble, tis very fll in'tenbce and a bit sharp in pitch, but very manageable. Suggested u ‘Weber, Quinte, mt. 1, opening clarinet pitch Saint-Saéne, Sonata rv. 1, ms. 16 Brahms, Sonata #1, mvt. 1, ms. 58, 149, Brahms, Tri, mv. 2, ms. 1 Schumann, Romances, mvt. 1, ms. 7 & 2 measures ‘betore ltor C Debussy, Premidre Rhapsodtie, § measures after ‘umber 3 ‘Schumann, Phantasiesticke, mvt. 2, me. 25 ‘This fingering is sharp, but responsive. This fingering is well in tune, but can only be used at medium dynamic levels, te tendency ts to produce Undertones at softer dynamics andits resistance prevents is being used at louder levels. ts awkwardnoss limits ts Use to convenient slurs at medium dynamics, This fingering is very responsive at most all dynamic levels although there is a slight tendency to produce a Hint ofan undertone af extremely soft dynam levels. ‘Suggested uses: Poulenc, Sonata, mit. 2, opening measures ‘This fingering is very well in tune, but very subdued in color, te extta blowing resistance makes it ideal for textremely soft playing, K can also be used as atl from BB No. dat whisper dynamics with no Tear of undertone1. This is the standard fingering for C4”. I tends to be ‘somewhat bright and resistant. Athough it is easily Played at fll and medium dynamics, it does not hold its olor well at a soft volume, 2. Uke all ofthe fingerings vented by the open thumb, this fingering is fll and dark in be ts easly attacked at all dynamics and is responsive in even the widest of leaps. tis especially good in soft passages. Suggested uses: ‘Debussy, Premiéve Rhapsodie, 11 measures betore umber 6 Finzi, Five Bagatelles, et. 1, 1 measure before ‘number 3 ‘Schumann, Phantasiesticke, mvt. 2, ms. 35 Poulenc, Sonata, rt. 1, 7 measures after number 6 3. This fingering is somewhat bright and thin in timbre, but ‘may be deepened and darkened by adding the left hand fing finger and low C# key. I is best Used in rapid passages where, its tonal deficiencies are not apparent fand in © to Ce? wills Suggested uses: Debussy, Promisre Rhapsodie, 7 measures ater ‘umber 10 Brahms, Sonata #1, mvt. 2, ms. 100, Poulenc, Sonata for. & Bsn. rm. 1, 1 measure before ‘umber 1 4. Thinness of timbre and flatness in pitch characterize this fingering. This flatness may be somewhat mitigated by adding the low Eb side key. is best used in vary quick azeages where timbre and tuning are not erie foe zB Benjamin, Le Tombeau de Ravel, 9 measures after ‘number’ Mihaud, Sonatine, mA. 3,5 measures before number 17 09 rR 5, This ie the standard til from B* Suggested uses: Stravinsky, Three Pisces, mvt. 3, ms. 4 6. This fingering Ie wel in tune and flute ike in quality. Ris most useful n soft passages, Suggested uses: Debussy, Premiére Rhapsodie, 2 measures belore ‘number 6 7. This fingoring is similar to G#” No. 4 tis a bit brighter land better in tune, yet Wt le not-as facile in rapid passages, '8. This fingering i best usp a a soft til from 8 when the covered fingering for Bis used.o 1. This i the standard fingering for D?. tis good in most, instances, But tends to color brightly and its response depends a lot on the qualty of one's reed. The Ab ‘whieper key may be omitted in rapid passages and may ‘ot Be needod at all on certain brands of clarinets 2. This fingering is much darker than the standard fingering and is more secure in soft passages and wide leaps. ‘makes slurring to and rom the upper clation easier than ‘most other combinations for Oe vitues shine forth in sustained, frie passages. ted uses: Brahms, Sonata #1, rovt 1, ms. 114 Brahms, Sonata #2, mvt 1,11 measures before letter F Berg, Vier Sticke, rv. 2, ms. 4 Muczynsti, Timo Places, mvt 4, ms. 73-74 Hindemith, Sonata, rmvt 1, ms.5 Brahms, To, mvt 1, 7” measures ater letter © 3. This fpgering is thin and bright, but well in tune, cespecilly with the added side key. is useful in sof attacks and rapid passages. ‘Suggested uses: Mozart, Quintet, mvt. 1, ms. 16 Brahms, Quintet, mvt 4, 1 measure before number 2 ‘Brahms, Trio, mvt. 1, 4 measures after letter F 4, This combination is thin, bright, and flat. is not very, Gependiable in attacks. Nie beet ueed in passages where the timbre Is not etic Suggested uses: Besnstein, Sonata, mt. 1, 6 measures after letter G & 1 ‘measure before letter K 5. This is similar to 0 No, 3, but is lower in pitch. tis sometimes useful as a CD til 66. Useful almost exclusively asa C.D’ til, this fingering is Mian, but is insecure at soft dynamics. 7. The sound ofthis combination fs yery dull, butt may be useful asa tremolo fom B10 8, Vory dark and full in timbre, this fingering is also abit tow in pitch. is excellent in slurs and at soft dynamics. Suggested uses: Berg, Ver Sticke, emt. 2, ms. 4 1d wall in tune. Rs good in fegato passages. is 9, This fingering is fun br imatacke and very so good as C20" Suggested uses: Benjamin, Le Tombeau de Ravel, 4 measures before ‘number 2215 characteristics, but isnot as secure at soft dynamics. his faultless in rapid passages trom the upper clarion and is ‘especially good in combination with E No. 14 sted uses: ‘Weber, Quintet, mvt, 4, 16 measures before letter K 11, This fingering is futeske in tone quality and very responsive in slurs and soft attacks. Di inthe slow ms. ofthe Mozart Concerto and Mozart ‘Quintet Fin the closing phrases ofthe Brahms Quinot, mv. 2 12, This combigation has tonel and response characteristics, similar to 0 No. 11, butis a bit more awkward. 18, This isa very dark fingering and tow ia pitch, ts advantage is that itis responsive even at the softest ‘dynamic levels 14, This fingering is similar fo 0? No. 3, but i abit darker and somewhat lower ia pitch,oe ‘This is the standard fingering for Di”. 1 tends toward brightness, buts wel in tune and responds well a most dynamics, especially when halt holed. The Ab whispet key may be omitted in technical passages. The strength ofthis fingering i ts Had in rapid scale pascages, Because of ie fatness, however, i ls not Fecommended for any type of playing where tuning is cial Suggested uses: Rozsa, Sonatine, mvt. 1, var. 4, ms.19-19 Nilsen, Concerto, 6 measures after 1 This note is very fll in tone and very well tune. peaks wellin most dynamics. For greater resonance the third right hand finger may open its tone hole whi depressing the fa side ofthe tir rng, Suggested uses: Brahms, Sonata #1, rm. 1, ms. 8 ‘This fingering is bright and thin in timbre, but very quick in response and relatively well in tune. itis difficult 10 attack, but good otherwise. Nean be darkened by adding the left hand thid finger, low Ce key, gna low F key. is best used in Ab major, ¢ minor, and F” arpeggios where Eb is the top note. Athough some players prefer to use this fingering’ In pascages such as ne G' to ED! ‘combinations in the Debussy Rhapsode, it does not hold Wwoll enough at soft dynamic levels to be seriously Considered for such passages, ‘Suggested uses: Benjamin, Le Tombeau de Ravel, 1 measure before ‘umber 3 & 4 measures beloce number 28 Mozart, Concerto, mvt. 1, ms. 146 (wth Fa” No. 3) Bart6k, Contrasts, mvt. 1, ms. 20 ‘Berg, Adagio, ms. 200 This note is fll in timbre and very well in tune. speaks wel in soft attacks, but fs inconsistent in slurs This fingering is fullin tone and more resonant than the ‘standard fingering. Wis very reeponsive both in attacks {and sure, but tonds to be a Bit sharp in pte, ‘Suggested uses Debussy, Premiere Rhapsodie, 2 measures after number 2&2 measures after number 3 Dark and somewhat flte-tke in timbre, tis fingering is ‘excellent in attacks and slurs at all 6ynamice, Suggested uses: Debussy, Promisre Rhapeodie, 2 measures ater number 2&2 measures after number 3 Minaud, Sonatine, rt 1, ms. 4 ‘Simro DF? No, 7, tis Hagerng Higher in pitch. The tow Ab key may be omitted fr better tuning. This fingering is flute.tike in timbxe, but is very sharp. is best used as a quick tremolo rom ©.10. Tip not js bright and sharp, But i Banta om oe Eb’. 11. This one is very full in timbre, well in tune, and is tesponsive in most situations. ts most useful in slurs to ‘and ftom the upper clarion 12, This note is very full and dark in pitch and although itis ithas no peer in wide slurs and legato passages ‘Suggested uses: Debussy, Promidre Rhapsodie, 2 measures after number 2 & 2 measures after number 3 Nielson, Concert, 17 measures after number 38 Reger, Quintot, mvt. 3, ms. 5 fae! 2) = v5 8%) i 13, This fingering is bright and responsive in quick slurs, but itis too free-blowing for security in soft attacks 14. In this instance the pitch is achieved by overblowing throat Ab. Is thin, right, and slippery in pith, but Is very usetu in rapid passages. ested uses: ‘Cooke, Three Songs of Innocence, mvt. 3, 1 measure ‘before number 3 Piston, Concerto, ms. 340 Bartok, Contrasts, mvt. 1, ms. 45 Poulenc, Sonata, mvt. 1, ms. ‘Stravinsky, Firebird, 4 measures after number 11 15. Ths fingering is similar to O#? No. 7 in both response: and usage4. This fingering i e 1. This ie the standard fingeing for E? and is best used in ‘most all sale forme. ts imbe Is bright and tonds to be Unstable for many piayers. H'a player can play this note ‘Securely at all dynamio levels he can assurne that his alt land embouchute are on a fay sold footing. The low Ab ‘whieper key may be omitted for rapid passages 12. Tis fingering isa bt bright, bute well in tune and very esponsive in slurs and soft attacks. ‘22 tremolo from C- pecially good 3, This fingering ie the same as E” No. 2, but is a bit sharper right and sharp, buts very responsive, especialy in slurred passages, Suggested uses: Copland, Concerto, ms.19 Schubert, Der Hint auf dem Felsen, 6 measures after the ‘Alegre Hindemith, Concert, mvt. 1, ms. 108 5. Darker than E* No. 8, with good tonal depth, this, Be fingering is good in respon: attacks ether than breath attacks is not dependable in ‘oft dynamic levels, 6. This combination is wellia tune and is responsivg in slurs and solt attacks, is best used as an Eb’ to & til by tiling the Co key. Suggested uses: Berg, ier Sticko, mt. 3, ms. 13, 7. This fingering i a bit sharp and bright in timbre, but is ‘very responsive and easy to sustain even at soft dynamic levels: The low AB may be omitted ‘Suggested uses: Prokofiev, Sonata, mvt. 1, ms. 1 ‘Schubert, Der Hit auf dein Folsen, 6 measures afte the ‘Alegro 8. This pitch ie arived at by overblowing throat Bb. is very bright and elippery in itch, but can be useful in certain rapid, technical pacsages, Suggested uses: Benjamin, Le Tombeau de Ravel, 9 measures before number’ & I measure before number 11 9. This fingering is similar to E' No. 4, but isnot as clear. fs alo bil lower in pitch, The lett hand fist finger may bbe opened or closed,19 10. Bright, but quick in responce, this fingering may be darkened by the addition of the low F or € key. 11. This note is excellent in tuning and response at all dynamic evel. ‘Suggested uses: Prokofiev, Sonata, vt. 1, ms. 1 12, This fingering is similar to E? No, 3. 13, This combination i similar to €? No, 4, but better for playing soft, sustained tones. is in pitch 14, This is similar to E” No. 10, but sa lite lower in pitch The low AD whisper key may be added in’ some instances. ted uses: Stravinsky, Llstoie du Soldat, Musique dela Premiore ‘Scene, 1 measure betore number 13 (Use with OF #10) 15. This fingering is faultless in soft attacks and is beautifully Intune.k provides too much resistance to use effectively atlouder dynamic level, but slurs wel ts awkwardnest limits its use to slow passages and there is always the danger of bumping the side key below Ht. The more ‘afing may find it more eecure to depress the side key ‘Suggested uses: Prokofiev, Sonata, mvt. 1, ms. 1P 1 This isthe standard fingeing for high F? and tends to be rather fat on the R-13 Buffet, betir on the Yamaha, and very well in tyne on the recent Leblanc and Seimer ‘models. The Fon the Butfet can be made very well in {une by adding the sliver key as indicated inthe fingering limptestion. Care must be taken, however, not to depres the rings when the sliver key is opened, for tha wl lower the pad on the right hand brace and! again flatten the pitch. Playors with argo fingers will have.a problem with this. There are several solutions to this dilemma. Many players tuck thelr fing finger ln and hit the sver key ‘eater the rng brace, thereby avoiding depressing the ‘ings. Other players have bert the sliver key up quite @ bitand added a thick cork to avold excessive venting, the ‘esuit being that even when the sliver Key is fully depressed, the top of the kay is above the open tings. A thd solution involves leaving the sver key where ht Is and grinding away some ofthe inside ofthe two rings on ther eige off 2. Nost often called “covered F; this fingering is sharp and very dark and fll in timbre. its good in loud passages, but tends to be too stuy to be dependable at softer ‘dynamic levels. this notes excessively stutty, the fourth space D and low G should also be checked for stutiness they all check out as noticeably sully, it could mean that the © pad Is too close to the tone Hole opening or ‘that some fralsing ofthat tone hole isin ore (f the O and G are not too sharp already), 43. This note I well in tune and responsive in leaps and attacks, but i's too bight in timbre to use in sustained passages. Suggested uses: Muczynski, Time Pioces, mvt 3, 3 measures ator number 37 ‘Slravinsky, Three Pieces, ema. 2 inal flourish jamin, Le Tombeau de Ravel at number 28 (use with No. 4) Plemé, Canzoneta, final measure Castelnuovo-Tedesco, Sonata, mvt. 2, 5 measures after ‘aurber 1 4. This fingering has the same characteristics as F! No. 3, butis lower in pith, ‘5. This fingering Is full In timbre and is faitiess in sot tacks and wide leaps. l tende to be sharp in pitch, but is easly managed. Suggested uses: Piemé, Canzoneta, final measure CCasteinuovo-Tedesco, Sonata, mvt 1, 16 measures ater number 3 Debussy, Premiére Rhapsodie, 6 measures after ‘umber 2 Poulenc, Sonata for cl & Bsn, mvt. 3, 7 measures after ‘number 8 Cooke, Three Songs of Innocence, mvt. 3, 1 measure ‘before number 3 ‘Schumann, Phantasiesticke, mvt. 3, ms. 15 6. This fingering is very at, but is quick in response. 7. This fingering is best used as an Eb? to F wil orn rapid {band Eb scales when Fishe top note ofthe passage, ts tuning and timbre are not sutficlent for exposed, sustained paying '8. Without the sliver key this fingering is dull and ow ia pitch. The added sliver Key, as indicated in’ the Impression, brings the note up to pitch. tis very quicken {esponse and useful as a tremolo from G10 8. This fingering is very well in tune and is responsive in soft attacks and sure. Wie best used when deleate leape fiom: the upper clarion are neede: Ile10, This fingering is thin and bright, but tunes fairy wel 11, This is. avery versatile fingering which, in mostinstances, {snotlificut to manage echnicaly tends tobe bight, but fe wall in tune. His too free-blowing to be totally dependable at softer dynamics, but i is ctherwive very SuckntespnseRstechnicaleomeience makestvry ‘Suggested uses: ‘Stravinsky, Three Pieces, mvt. 8 Piston, Concert, ms. 323, ‘Mucryne, Time Pieces, mvt 1, ms. 15 ‘Brahms, Tio, mvt 4, measures aie letter F Poulenc, Sonata fort & bsn, mvt. tat number 5 12, This fingering is very good in response and tuning. Wis best used In oft attacks and quick slur. a Bee BS SES SESE SE SBE SBE SBE SE SBE REE SE EEFe 1. The standard fingering for Fa” Is probably the worst standard fingering in the entire upper register. The tuning is flat and the response is poor. The AD whisper key fs & ‘Bust on this note to gett fo speak at all. The right hand lier key goes along way to correcting the poor tuning land response of this note. The F# can be further Improved by using the low F# key as the whisper Key, rather than the low AD. The use of the F# whisper key, ‘ives the tone reliable response, more resonance, and ‘900d tuning without addtional venting. The low F# whisper key dges, however, make the tono easy to ‘overbiow to APS. Use le lavaluable in passages auch a the closing bar of the second movernent of Kent Kennan’s transcription of the Prokofiev Sonata for Flo (olin) and Piang. in the final measure the cgrnetst I asked to play FA” and Ag” as grace qotes to B. Tis can bbe done with perfect ease ifthe Fa ig played with the low Fa# whisper key and the Ag? is) played by ‘verblowing open G while leaving the low F# depressed, Such a combination makes.n otherwise dificul passage ‘easy if playing in that area of the clarinet can ever Be ‘eseribed ae easy! 2 This fingering ig somewhat sharp and Is a viable ‘subetiute for FA" No, tinal is forms. 3. This fingering ie wel in tune and is full and rich in tone. ‘tis faultless in slurs and attacks at all namics ‘Suggested uses: | Debussy, Premiere Rhapsodie, almost all ofthe Poulene, Sonata, mvt. 1: Smmeasures after number 8; vt 3: at number 4 after number 5, and the i final measur Castelnuovo-Tedesco, Sonata, mt. 1, Franeaix, Concerto, mvt. 1, ‘4 reasures after number 4 in G#? No. 4or GF No. 24, ‘number 2 4. ‘Although it tends towards sharpness, this combination ie ‘manageable in pitch and responds well in leaps. K can also be played very softy. is awkwardness obviously | limits its techaical usetuiness ‘Suggested uses: Piston, Concerto, ms. 257, il to G? No.3 ‘5. This note is very well in tune and responds wel in soft attacks and in leaps from the upper clarion ts pitch may be raised slightly by adding the right hand sliver key. is a move than viable substitute for the standard fingering. 6. The uses ofthis fingering are limited end its tuning fe noticeably fat 7. This fingering is abit flat, but i fallessty responsive in leaps from the upper clarion. t should not be used in ‘sustained passages because of is fatness. ‘Suggested uses: ‘Messiaen, Quartet for the End of Time, rm. 1, final 8. This is a very fullsounding note with good response ualities and Is only tightly low In pitch ‘Suggested uses: Poulenc, Sonata, mvt. 1, 2 meacutes aftr number 3 Poulenc, Sonata for cl & Bsn, mvt. 3, 4 measures after ‘umber 1 9. This fingering i only sight high in pitch and seas managed htondeto te bight butts very ack response iso free lowing be very weet a ster dynamic passages.© Oh8 C4 a x) Tl O¢ 10. This fingering ts also high, but manageable. ft Is very Useful at soft dynamic levels and responds quickly In leaps at all dynamics. ts awkwardness limits is Use © ‘luring out of te upper clarion, Suggested uses: Weber, Concerto #1, rv. 1, inal til (vi left hand middie finger to) 11 This note fs wall in tune and fs good in leaps: however, itis stutty and its use should be limited to soft dynamic levels Suggested uses: Messiaen, Quartet forthe End of Time, vt. 1, ina 12, The tuning of this note is good and its tive i ful tis ‘not reliable in leaps and can only be securely altacked at louder dynamic levels. 13, This note is fat and stuffy and is of imited use 14, This note is only slightly low in pitch and can be raised alitle more by adding the aver key Inthe right hand (rotinaicated). ts sightly bright, But has good potential 2 a custaiing tone. Rs cumBersomeness mits use to lyfie passages, although ft can be used In some Instances where a quick response is required Suggested uses: Frangaix, Concerto, mt. 1,11 measures after number 17 15, This fingering fs quick in response at all dynamic eves I tends towards brightness and sharpness and ie not recommended for passages where precise tuning is ‘itil 16. Atiough fll in timbre and good in response, this note’: ‘sharpness prohibits ts use except in quick passages 17. This fingering is. well In tune, but is sluggish and Lundependable in leaps and softer attack, makes it unusable for ming is eritea.Itcan possibly be used il (Bll to G? No. 2 with added C# key) or 26 an to Fa? tril (overblow clarion Ab and tl the Tet hand mide finger)19. The tuning ofthis note Is good and it eeponds well at virtually all dynamic levels ts awhwardnezs mits its use to leaps from the upper clarion, 20. This note is sharp, but may be fine-tuned withthe right hhand index finger. tt i especially good In very sott passages. 21, This notes flat and thn-sounding and is ofimited use 2ease 4 l x) Y XX iS) 4 eo ‘This is the standard fingering for G. tis sharp and can be fine tuned by completely or partially closing the let hhand ring finger. Although this note has good tonal characteristics, itis not aways dependable in soft attacks land wide leaps at soft dynamic levels. also tends to Pop or hesitate when sitting down to F#” and should Rot be used in rapid C, G, or F scales where smoothness and flidity are etical This G” also tends to be sharp, but can be finetuned by partial coverage with the sight hand fing finger. tis much ‘more responsive than G No. tin both soft atacks and wide, quick storing. ‘Suggested uses: Stravinsky, Three Pieces, mt. 2, final leaps to G? Cooke, Three Songs of Innocence, mvt. 1, 11 measures ‘ater number 5 ‘Brahms, To, mvt. 1, 6 measures betore letter | This fingering is only sight flat and can be played well in tune by using the top till Key rather than the one indicated. This fingering i most useful when quick leaps ‘rom the upper clarion are demanded ‘This fingering has surprisingly good response and tuning, Itis good as the top nate of many common arpeggios (C. G, ¢ minor) and speaks well in all but the softest ayn however, 100 low in pith for sustained ‘Suggested uses: Prokofiev, Sonata, mv. 2, at number 13, ‘Nielsen, Concerto, 10 measures after number 3 ‘This fingering has the same uses and features as No. 2, but is somewhat lower in pitch and le more covered: sounding This fingering is also a variation of G? No. 2, but is at and not recommended for passages wher tuning i ‘tel This fingering is low in pitch, but can be used in rapid clatonie and chromatic passages. The right hand sliver key may be omitted ifthe passage Is rapid enough. The pitch may be raised by using both bottom side keys ‘This fingeding is only slighty flat in pitch. is not dependable in attacks, buts best used as an P10 Gil orn fast scales, ‘This G’ responds very well in leaps, but isa shade flat, ‘especially on the Bb clarinet, ‘Suggested uses: Brahms, To, mvt. 1, 6 measures before letter |10. This fngeving ie varason of G No.1. is abit sharp tnd tines Deter wih the Ab whisper Kay ried. tle Gniy sete at louder dynam. fvela and not dependable in tack or wise sre 11. This flngering Is very good for tuning, but is only secure at louder dynamic levels. tonds to delay and produce {ot of undertone at softer dymamie levels 12, This fingering is sharp, but can be fine-tuned withthe fight handing foge. Nis only nel at ouder dynamic 13, This Is a variation of fingering G? No. 1. tis flat and is ‘only good for attacks at louder dynamic levee, 14, Another vatiation of fingering G? No. 1, this is higher ia pitch and more responsive than GP No! 13. 15. This ea variation on fingering G? No.2. Rs tightly low in pic sted uses: CeBRirsov Tedesco, Sonata, m2, 4 measures ater umber 16. Ago a variation on fingering G? No. 2, this is latter than ‘No. 15. Suggested uses: Casteinuovo-Tedesco, Sonata, mvt. 2,4 measures after ‘aumber 1 17. This note fe fat and stutly. W Is best used In soft passages where tuning Is not cial. tends to be abit Sluggich in slurring and soft attacks. 18. This note is played by overblowing B?. i tends towa sharpness and has similar characteristics to fingering ‘No. 3.Itis abi fates, however, and i not as responsive insure19. This fingering has excellent response and tuning characteristics, but ts awkwardness greatly limita he technical usefulness,ay? 1. This fagering fs often considered the standard, but ifs flat and requires considerable lipping fo playin tune 2. Tis fingering is quite sharp, but can be fine-tuned with the right hand middle finger. ‘3. This fingering Is somewhat lat and tia in timbre. I. bbe used as the top note of an Ab arpeggio from Eb’; however fingering Ab” No, 24 Is superior in this respect 4. By far the richest sounding AD’, it tends towards. but ean be easily played in tune. i responds well in leaps and at all Gynarics. This fingering should be used whenever the echnical context wil low Muczynhi, Time Plocas, mvt. 4, ms. 23 Poulenc, Sonata, mvt. 3 final measure Bartok, Contrasts, mvt 1 ms. 38 ‘5. This combination is a variation on Ab? No.4. has. similar characteristics, but ls a bit sharper and not as responsive, 6. This is a very sharp note and should only be used in rapid pascages where the tuning fs not erica 7. This is @ variation on fingering Ab? No, 24 and is siilar te iin use and characterise 8. This fingering is stuffy and flat and is best used in very soft passages. can also be used as atl rom G’ when G No. 4s used 9. Thetuning and response ofthis notes very good, butts Awloardness aie of hea echnical ev,10, This fingering Is very wel in tune and responds wet in attacks and most leaps. In faster passages the let hand sliver key may be ghminated. fig usetl in chromatic ‘scales and to Ab’ Wile when GF No, 7 i used, 1d Ab? No, 10 in 11. This fingering Is similar to AB? No, ‘responce and turing characteristics. 12, This isthe same fingering as Ab? No. 11 except that the bottom right hand sie key is substituted forthe let hand sliver key, making it somewhat sharper 13. This fingering has good timbre and response, but tends toward sharpness. may be fine-tuned with te midale fight hand fager. 14. This is an excellent note for tuning and response. Suggested uses: Muczynsl, Time Pieces, mvt. 4, ms. 25 16, This fingering ig wel ig tune and epsponds well. ie useful as an F4? 10 Ge til (use Fe” No. 18). 16. This pitch is very well in tune and responds well at all dynamics. 17. This fingering is at, but can be raised by adding the low F¢ key as a whisper key. is good in afacks, but is not secure in wide leaps. hs “awkwardness ‘Hits iis Usefulness, 18. This pitch is somewhat at, I can be attacked securely at low dynamics, but is insecure in sluring and tends 10 hesitate and produce lower harmonics when played softy19. This note is sharp, but may be fine-tuned with the right hhand middle finger. is useful in an Ab arpeggio, but its tuning is hard to contol. H Is not recommended tor sustained playing, 20. This note fs only a bit sharp and bright, but Is very manageable. R responds well in soft and loud attacks and slurs from the upper earion. The low F# whisper key may be used In lieu of the low Ab. 21, Tending toward fatness, this fingering is slippery in pitch and is unstable at soft dynamics. 22, This note has good response and typing. ean be used 42s the bottom note of an AB? to Bb’ tll (il ight hand ‘iver key), 22. This fingering has beautiful response and tuning. ts timbre is also very ful. I's stable in all but the softest dynamics. 24. This fingering has excellent tuning and response characteristics and tho added value of belng very easy to finger in most contexts. Suggested uses: Piston, Concert, ms. 342 with F#? No. 3 Muczynski, Time Pieces, mvt. 4, ms. 26 ‘Nelsen, Concerto, at number 11 Bark, Contrasts, mvt. 3, ms. 202 (with G" No. 1 orG? ‘No. 2) Copland, Concerto, ms. 426A ‘This fingering is often considered the standard, but ts response leaves much to be desived, Ris use in many ‘nexposed contexts and as the top ofa G’ 1o.A wil ‘using G" No. 10 without the lower C#? key. I is also sharp in pitch. ‘Suggested uses: Piston, Concerto, ms. 415, “This fingering fp much fuller and easier in response and tuning than A’ No. 1 and should be considered the standard fingering, ‘Tis is very Mat and of limited technical usefulness. “This note is somewhat fat is variation of A’ No. 3 buts not as good. ‘This note i fat, but its response is good. Suggested uses: ‘Ayn, Sonata, 6 measures after letter H This note is excellent in response, but is a bit sharp. may be fine-tuned with the middie finger of the right hana. This note has excellent tuning and response. ts awkwardness limits He usefulness, however. ‘This note is well in tune and is even more responsive it the low F# is used as the whisper vent. Suggested uses: Rosza, Sonatine, page 9, fine 9, ms. 4a 1. This note is flat, but its response and timbre may be improved by the following alterations: 1) Use the right hhand elver Key instead ofthe low Ab as the whisper Key 2) Use low F¥ instead of the low Ab key. K may be necessary to take a bit more mouthpiece to play this fingering up to pitch. should not be used in most sustained passages. though its response and timbre are adequate, there are many more AF” fingerings which [Provide greater satistaction in sustained playing. 2, This fingering i fll in tbe, but is onthe fat se of the pitch. For a better tuning version ofthis note see At No.4 '3. Although its tuning Is good, this fingering is somewhat ‘eslstant and undependable in soft atacks and slur. ts timbre is full, however, and it works well in loud passages, 4, This fingering is well iq tune and is good fingering 10 use from covered F (F) tis also stable in aftacks and works well at most dynamics. tis not as dependable or Fesponsive as A#” No. 14 in lap ‘5. This fingering Is a shade low and can be brought into better tune by substituting low F# forthe Ab whisper key. tis very good in soft attacks and is stable in pitch. 6. This pitch is a shade flat. The slvr key may be omitted were the context does not require precise tuning ot Sustained playing, 7. This pitch tends to be quite sharp, but it can be fine- tuned with the middle finger ofthe right hand, 8. Soft attacks are achieved easily with hi fingering, but it requires considerable voicing to play in tune. 9, This note is considerably fat, but its tuning can be Improved by adding the right hand sliver key or ow C# hey.10. This pitch is very flat and its awkwardness limits is setlnees 11, Excellent tuning, good response, and bright coloration tare the main features ofthis fingering, The sie keys may be omitted making this a viable til rom A 12 This fingering is fat, but full. requires considerable voicing to play well in tune, 13, This fingering tunes wel. The top side key may be added or subtacted as necessary. 14, The timbre of thie pitch is very fll and warm and it is only a shade low in pitch. ti excellent from covered F land responds well'in both atiacks and slurs at all ymamics. 15. This note is very lat and its response is sluggish. 16. Thin-sounding, but wel in tune, the right hand sliver key may be substuted forthe side key inthis fingering,pecs Misesae cs I N25 oi+} NK ‘). MRS[_# Seweite aX oDAdditional fingerings Notes