 The Clarinet BBoard
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Author: michael
Date: 2000-02-25 11:23
I have a hard time using the right little finger for playing
the bottom two keys for B and C#. I have always considered these to be alternate fingerings, so I don't have them in my head or fingers without some thought. I have been using the Avrahm Galper series to practice and he frequently recommends the use of these fingerings even for the low notes.
I find that my right hand wants to move too much and I pull the rest of my fingers off the holes. Is this common when using these keys? When I was younger I don't remember useing them very often. Michael
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Author: Eoin
Date: 2000-02-25 12:21
The book I learned from (Graham Lyons) recommended the right little finger as the standard fingering for C#. As a result, I have problems finding the left hand alternative!
You shouldn't be turning your right hand at all to reach the C# and B keys. Practise keeping your hand rock steady, lifting the little finger, bending it at the middle joint and placing it on the C# key.
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Author: Katherine Pincock
Date: 2000-02-25 12:35
I remember this problem! I too had a teacher in the school band program who never mentioned alternate fingerings, so when I finally had to learn them, it was pretty tough. The best exercise I can suggest to start with is to put all your fingers on the holes, and using just your little finger, play a series like this (in the chalumeaux register): F-G-Ab-G-F#-G-E-G. Start slowly, so that you get used to placing your finger without moving the rest of your hand. You can also do the same pattern in reverse. Once you've gotten used to that, you'll find it a lot easier to incorporate these fingerings into your exercises. Hope this helps!
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Author: Don Berger
Date: 2000-02-25 13:45
We had a go-around on this some time back. I had the finger-pulling problem of my right ring finger from its tone hole-ring, so as to easily reach the rt. E/B key without touching the F/C above it, and solved it by raising the thumb-rest. I did so by inverting the TR, and using a rubber thumb cushion to accommodate the curvature, rather than installing an adjustable TR. You might see if this procedure would help you by simply putting your thumb on TOP of the TR and then fingering the E/B and the F#/C#. It works well for me on alto and bass as well. Luck, Don
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Author: Dee
Date: 2000-02-25 14:02
Although used occasionally in other contexts, the right hand B natural becomes particularly important in clarinet keys of four or more sharps or flats. In a lot of school music, these key siginatures occur rather infrequently unless the band director is really wants to challenge the band.
There are a couple of things to look at. First of all make sure that your right hand is properly positioned. Many people have the right hand too far under the instrument and this significantly affects the freedom and accuracy of the finger movements. The hand should be positioned such that the center of the thumbrest is right over the line on the thumb where the bottom of the nail meets the flesh. The wrist should be relatively straight.
Secondly there is a great series of "finger twister" drills for the low notes in the Rubank Advanced Method Book Volume I. You start each drill slowly and repeat it until it is smooth. *Gradually* increase the tempo until it is finally smooth and fast. Just be sure that before going to each faster tempo that you are accurate and smooth at the current tempo. These drills also include slides so that you can optimize your use of these alternate fingerings.
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Author: paul
Date: 2000-02-25 14:41
I agree with the idea of warming up with chromatic drills in the chalemeau, as Katherine mentioned above. I also agree with Dee and the finger buster drills for 4 sharps/flats. Also reference scales in Albert's book, the Baermann III book (IMHO a fantastic skills builder and a "must have" for all clarinetists. My favorite one is from Hite because it's in a much more playable range and it has all kinds of helpful hints, including slide marks.), and the Langenus I and II books.
The idea is to do exactly what you mentioned above. "Burn" these fingerings into your memory, make it a part of your instant reaction instinct for the clarinet. Daily practice, even if it's only a few alternating (Left Hand only, Right Hand only, alternating LH to RH, etc.) drills during warm-up will help you get the fingerings right. When starting out, take the time to look at your fingerings very closely and work on them very slowly. It doesn't take much to pull your other fingers off the tone holes. Work in front of a mirror if you have to. Then, gradually build up speed to make these fingerings instinctive. I had to do the same thing with my 18th key (LH Ab/Eb) on my Festival clarinet a few years back. This extra work and drill has paid off handsomely for me through the years, even as an adult novice.
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Author: michael
Date: 2000-02-25 19:24
Thanks for the input everyone. I guess the end result should be that I can use the right little finger without
moving the other fingers if I work on my technique.
I'm much more comfortable with the left hand than the right--I'll work on it. Thanks. Michael
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