 The Clarinet BBoard
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Author: Rex Tomkinson
Date: 1999-11-20 10:03
It is always nice to learn a new cross-fingering or other 'trick' (can't think of a better word!)to add to the armoury and it is equally nice to pass them on to others.
Here is one I particularly like-but I apologise to those of you who may know it already!
It involves the A natural fingering; one line above the staff, like so--
In addition to the usual fingering, add the right index finger and the G sharp/A flat key with the left little finger. Why complicate it in this way? Just listen to the difference in the response. It loses it's sharp, brittle quality and you will find that you can now 'lean' into the note and put a faster air supply through it, in pp passages.
Two examples of where this would be useful are:
1. Krommer Concerto, opus 36; the opening phrase of the slow movement. In this particular example it has the added advantage of 'anchoring' the right hand in readiness for the arkward A-D movement. The left pinky finger has to be move rather smartly, but it is easy with a small amount of practice. But the A will have taken on many of the mellow, denser qualities of the D natural.
2. Weber Concertino; the opening bars contain those well known 'echo' passages involving leaps from full blown bottom F and E up to ppppp A natural.
These are just two isolated examples of where this fingering is useful, but there are many more. Personally, I use it at every opportunity because it sounds better.
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Author: Rex Tomkinson
Date: 1999-11-20 10:11
Sorry to 'hog' the board. I would just like to add that it is always interesting when players exchange ideas-especially in this area, so how about a discussion of cross/alternate fingerings? Don't keep it to yourselves.
Thanks to everyone who contributes to this BB-it's great.
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Author: Mark Charette
Date: 1999-11-20 15:45
In addition, please add it to the collection on the Woodwind Fingering Guide (www.sneezy.org/wfg) by emailing the coordinator of that area.
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Author: Jim Carabetta
Date: 1999-11-20 19:14
I like cross-fingerings across the upper-break, from hi-C to Hi-D above the staff:
Hi-C, normally with Reg+Thumb, add the two bottom right-index trill keys for hi-C# (without the reg-key, it is actually an alt-fingering for first-space F#).
Hi-C, add the G# side key = Hi-D
Hi-C, add the A-arch-key = Hi-Eb
These usually uncomplicate fingerings that require one quick jump for one note above the staff.
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Author: Don Berger
Date: 1999-11-20 20:18
Very helpful, will try the unfamiliar ones. How about a better-sounding top-of-staff F#toG# trill, frequent in multi-sharp keys [I usually resort to my full-Boehm!]? Also how to play Bb cl on the Moldau start-of-river 2nd cl passage? I sure had trouble! TKS, Don
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Author: Jessica
Date: 1999-11-21 07:08
I play the Moldau beginning on the A clarinet. I prefer 2 flats to three sharps.
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Author: Rex Tomkinson
Date: 1999-11-21 09:33
Sorry Mark, I'm not fully afay with things yet-but I will E mail as you suggest when this topic dries up.
I like your Hi-Eb Jim; here are a couple more:-
Play a third line B natural, and at the same time (this is a little awkward)open the A key with the side if the left index finger. Now trill with the right index finger and with a little practice you will have a very useful A to B. This is very good on some carinets but not so good on others.
Finger a D below the staff and 'overblow' it until it gives you a high F. You will find that it produces a very good F which is perfect for the opening of Weber No 1. (you can get away with a top F sharp by adding the side key)
I'll shut up now.
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Author: Mario
Date: 1999-11-22 13:46
In the world of fingering, investiveness is the key (no pun intended here). Ridenour has an excellent books that summarize 99% of the options available in this department. But I understand that old fingerings (from the days clarinets had fewer keys) are coming back and are adding the the set of potions.
I for one split fingerings in two categories:
1 - Those that exist to facilitate fast transitions with technical complexity - special fingerings for trills are instances of such).
2 - Those that exist to improve response, intonation, color, dynamics, etc - the tone angle of fingerings. Those are by far my prefered. There are many ways to improve throat tones that are just a joy to discover and learn.
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Author: paul
Date: 1999-11-22 18:52
Being just an adult novice, my limited experience and expertise probably won't shed any new light on the subject. So, I'll follow the thread with a few easy examples.
Throat tones: You can get away with closing the tone holes for the right hand from middle staff G up to Bb. This can affect tuning and tone to some extent, but it sure gives the player a leg up on upcoming runs. Let's see if I can recall a popular song run that uses this trick. "Deck the Halls" holiday song, with the A, B, C, B run. It has to come off fast and in rhythm, but on the clarinet this is an awkward "cross bridge" run. So, I prepare my right hand with the tone holes closed and the B pinky key on the right side down already. That takes care of the most awkward A to B transition. Then, I have to train myself to lift the B key, hit the C with the left pinky finger, and keep it down, then hit the B key with the right pinky finger again. This isn't the most comfortable run for me, but I've learned how to play it fast, smooth, and keep it in rhythm.
Arpeggio drills with four sharps (or four flats): How to get the D# (or Eb) just below the staff on some of the runs? The trill sliver key is no good, C# (or Db) is coming up fast and this transition is always very sloppy for me. The usual side trill key makes for another sloppy note transition from that D# to C# (or Eb to Db). What else is left in my bag of tricks? How about trying a variation of the top of the staff Bb without the register key for the D# (or Eb)? The D# (or Eb) is fingered with left thumb, left first finger, and right first finger. Intonation isn't perfect, but like I said on another posting, no one notices the cowboy's wrinkled shirt when he's on a galloping horse. This fingering of D# to C# (or Eb to Db) still takes some practice, but at least the note transition is smoother. For the four flat runs, this Eb fingering is great for hitting below the staff Bb very quickly, just close down the rest of the left hand fingers. Another trick is to use the same concept for four sharps with a lesser known but equally good fingering of left thumb, left first finger, and second right finger. Great for D# to just below the staff B natural. Just close down the rest of the left hand fingers. Great for a run of below the staff D#, B, G#, etc.
I wholeheartedly agree with Mario's idea of investing some quality time figuring out novel fingerings just for the fun of it. This part of the discovery of the clarinet is very useful, because I believe that folks can learn the art of their horn and have fun doing it at the same time. And would you believe it? At least one of my drill books has these lesser known fingerings and sample runs for them, right at page 1! Guess I'd better take another look at the pages I often ignore.
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Author: Don Berger
Date: 1999-11-22 20:47
Well spoken, Paul, I love your analogies, here and above. I'll try these suggested fingerings, yours and others, after all it is Christmas-time!! Don
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Author: anonymous
Date: 1999-11-23 02:45
Although this may be common knowledge to some I use a great fingering for throat Bb. When fingering Bb put down the ring finger in both hands and pinky in the right hand on the Eb/Ab key. The sound is incredibly clear for me. It also helps a little on A.
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Author: Eoin
Date: 1999-11-24 07:36
Four fingerings for high notes, just above the upper break. These use Thumb hole open as a speaker hole instead of the normal left index finger open. You may have to cover the thumb very slightly. The notes are the first C#, D, Eb and E above the stave.
C# Reg L1 L2 L3 R1 R2 R3 G#
D Reg L1 L2 L3 R1 -- R3 G#
Eb Reg L1 L2 L3 -- -- R3 G#
E Reg L1 L2 L3 -- -- -- G#
The tone of these notes is very pure and they play very easily, much easier than the standard fingering for me.
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