 The Clarinet BBoard
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Author: Matt74
Date: 2013-11-02 18:12
What is the left hand Eb/Bb key for? I have never used it, but it's on every clarinet I've ever seen. I use my right hand B/F# key as much as I can, but it helps me to avoid the switch to the middle finger.
When I played saxophone I used the bis key in certain situations, like arpeggios, or when playing the blues in G, but when playing scalewise in classical it was usually best to use the right hand Bb.
I suppose the clarinet LH Eb/Bb would help you to avoid banging with the RH key and smooth things out a bit.
For those of you that do use it, do you pick your ring finger up and put it on the key, or do you roll off the tone hole, and onto the key using the side of your finger?
Also, how often do you use the 1 and 1 fingering for Bb? I used 1 and 1 often on Saxophone, but the tuning and sound on my Buffet is less than awesome.
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Author: Caroline Smale
Date: 2013-11-02 19:57
It's most important use is in quick chromatic passages, keeping the flow in the LH and avoiding need to rapidly synchronise the RH and LH.
It has many other used that are context specific and usually revolve again in keeping quick passages (diatonic or chromatic) that are mainly in the LH from need to jab at RH key.
Normally you would not use this fingering when the note immediately before or after Eb/Bb uses the RH 3 finger down (i.e. it is the context that decides it.
The 1/1 fingering is immensely useful in parts that involve arpeggios say going from F to Bb or for quick passages over the second break into altissimmo.
If your 1/1 Bb is not very good then it's likely your clarinet is out of regulation.
Yes there are some players who say they never use LH Eb/Bb but they are missing an important facility in my view.
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Author: Barry Vincent
Date: 2013-11-02 21:09
I second Norman's comments. "It's most important use is in quick chromatic passages, keeping the flow in the LH and avoiding need to rapidly synchronise the RH and LH".
That's the principle idea why the original Clarinet designers put it there.
I call it the chromatic Eb/Bb 'sliver' key.
And it's very easy to use.
Matt74 asked "do you pick your ring finger up and put it on the key, or do you roll off the tone hole, and onto the key using the side of your finger"?
No, that is the incorrect way to use it. If the LH 3rd is already down prior or after the Eb/Bb , then the RH Eb/Bb is used.
Skyfacer
Post Edited (2013-11-03 03:08)
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Author: beadgcf
Date: 2013-11-03 05:15
I use it mainly for a trill fingering or for quarter tones.
Board-Certified Music Therapist
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Author: Ed Palanker
Date: 2013-11-03 14:02
It keeps fast passages in the same hand making it easier to facilitate some passages. This only works when the player is comfortable with it which only comes with practicing it. I've always encouraged my students to practice the chromatic scale using it in their warm ups. Like with any alternate fingering, the more you're comfortable with them the more choices you have when there's a difficult passage.
ESP eddiesclarinet.com
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Author: Chris P
Date: 2013-11-03 21:56
As this key isn't fitted to other woodwinds I play regularly (but is fitted to my bassoons which I don't play regularly), I don't use it and never have done on clarinet as I find it awkward to use. I've even blocked off the tonehole as the last thing I want to do is catch this key as it does get in the way a bit, especially on C and Eb clarinet and on my basset horn and bass (where I've removed this key completely).
I prefer to use the side Eb/Bb key, the long Bb fingerings (sometimes as an Eb if I can get away with the slightly sharp nature of this note as a D#/Eb in the lower register) and forked Eb/Bb (xox|ooo) as my clarinets all have this mechanism fitted (either from the factory or built and fitted myself) which gives a good note in both registers.
I don't know many players that use this fingering (only two - one of which started on a simple system which only had this Eb/Bb key and no side Eb/Bb key) - my teacher certainly didn't use it and if he didn't like using it then I respect his better judgement.
It might be the fact I'm right handed, but oboes have a similar key in the right hand for F natural (xxx|xx/o) which I don't find all that awkward to use (probably due to the much wider finger spacing), along with the forked F fingering (xxx|xox) and the LH F key (in a similar place as the LH Ab/Eb lever on clarinets with 18 keys or more). Oehler, German and simple/Albert systems also have the same RH F key (Bb/F key) as oboes as well as the forked fingering and sometimes a LH Bb/F lever - they also have the LH Eb/Bb key as standard, but most basic simple/Albert systems don't have the side Eb/Bb key so only have the cross key.
On Boehm system clarinets the LH Eb/Bb key is a throwback to simple/Albert systems, so I suppose it was fitted to Boehms so players changing from Albert/simple system to Boehm system still had the Eb/Bb fingering they were accustomed to.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Caroline Smale
Date: 2013-11-03 23:17
Chris, out of interest did you ever ask your teacher why he didn't like using the LH Eb/Bb key? and if so were his reasons equally valid for you?
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Author: Chris P
Date: 2013-11-04 06:40
He found it awkward, uncomfortable and inconvenient to use.
Having come from a saxophone background and flute before that, it wasn't something I had much need for when Eb/Bb can be played by other more convenient means.
Artie Shaw's 'Gramercy 5' Buffet had this key removed and all the holes filled in, so he too had no use for this key. On my full Boehms and other clarinets with the forked Eb/Bb mechanism, this key only serves to keep the bridge key raised enough to ease assembly (even though I still hold the top joint ring keys closed during assembly).
I know some tutor books (ie. Otto Langley) recommend this fingering, but I still favour the side key over it anyday - I can play C-D-Eb-D or G-A-Bb-A repeated much faster with the side key for the Eb than with the cross key.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: snilsson
Date: 2013-11-04 09:22
One more reason: the left hand Eb/Bb offers smother legato fingering. On most clarinets the right hand key lifts at an angle and this makes for a somewhat fuzzy legato.
It's a pretty minor thing, but once this has been pointed out to you, you'll never be able to use the right hand fingering without hearing the fuzzy legato. Sorry about that...
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Author: Matt74
Date: 2013-11-07 01:53
Thank you all for your thoughts. I'm not a convert yet, but I suppose it would be a good idea to work on it just on principle. Once I get used to it maybe I will fall in love and won't be able to do without it! (Probably not, but maybe.) Thank's again,
Matthew Simington
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Author: A Brady
Date: 2013-11-07 02:18
I did not use this key in my early training, using the RH b flat/e flat key as the default. I can see the "keeping it in the same hand" argument, but as has already been stated, the use of this key requires practice to smoothly incorporate it, and I have also known players who have amputated this key for simplicity purposes. I have been glad to have the LH option available on occasion when I have water bubbling in the RH pad. It also is good for a very rapid trill effect, alternating between the RH and LH keys. It's purely a subjective decision.
AB
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Author: cigleris
Date: 2013-11-07 07:24
It's a throwback from the 18th C when it was added. Players discovered it was a useful trill key between Eb/Bb and F/C ( c fingered with just the middle finger).
Peter Cigleris
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Author: Chris P
Date: 2013-11-07 09:42
On most clarinets the side Eb/Bb and cross Eb/Bb toneholes are different diameters and positioned differently on the top joint (distance from the tenon) so they both have slightly different tuning and tone colour.
On Buffets the cross key tonehole is positioned higher than the side key tonehole and is smaller in diameter - I think it's the opposite with B&H clarinets. On Selmer BT, CT and Series 9/9* both the Eb/Bb toneholes are the same diameter and at the same position along the joint (on a CT they're 6mm in diameter).
I notice some Rossi clarinets only have the side key tonehole and the cross key is fitted but is a lever key that opens the side key instead of having two separate toneholes for this same note.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: ebonite
Date: 2013-11-07 11:52
The key remains useful for the Eb/Bb - F/C trill on Boehm system clarinets:
play Eb/Bb with the LH key, and trill to the upper note using the two lowest trill keys
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Author: LJBraaten
Date: 2014-02-06 10:22
until my practice tonight, I could say that this was the only key on the clarinet that I had never used. I was playing a passage with several Eb quarter notes in a row, and when I used the right hand side key, the tone hole had saliva in it and the note was fuzzy and bubbly sounding (you've all had this happen before, I'm sure). I switched to the left hand Bis key, problem solved.
Laurie
Laurie (he/him)
Post Edited (2014-02-06 05:24)
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Author: donald
Date: 2014-02-06 11:00
I use it often, but at least one top player I've met over the years has been like Chris P and not used this key (like him, closing the tonehole off- I won't say who it is as it's some years since we spoke of this and they may have since changed, but a player with international experience in top orchestras and a formidible technique I am envious of).
I must say that sometimes when playing chromatic scales on the saxophone I accidentally reach for this key, but that would happen maybe only a few times a year, and has never happened when actually performing.
95% of my professional gigs are playing "classical" clarinet, and I commonly use this key when playing Chromatic passages or anything using F major and B flat major scales (and of course the relative keys).
dn
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Author: Wes
Date: 2014-02-06 06:04
Many early simple system clarinets have the LH Bb/Eb key but no side RH Bb/Eb key. I own one which is quite fine but I do not use that instrument.
Earl Handlon, an early teacher of mine, insisted on the use of the LH key and we went through Klose learning it's use. As he said and Mr. Palanker says, it keeps the action all in one hand in certain passages. Yet some players have the key removed and the hole blocked.
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Author: tictactux ★2017
Date: 2014-02-06 11:07
I must confess that I am using neither of these sliver keys.
It's probably my teacher's fault and now it's too late. ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
(But thanks to this forum, I shall revise my fingering habits)
--
Ben
Post Edited (2014-02-06 06:50)
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Author: Chris P
Date: 2014-02-06 13:58
Ben, best way to get used to using the RH3 B/F# 'sliver' key is to play repeated chromatic phrases - eg. A, Bb, B (with the sliver key), C, Db, C, B (with the sliver key), Bb and back to A (then back up again).
Or on sax (or the upper register on clarinet) - E, F, F#, G, G#, G, F#, F, E (and back up and down again) - taking the F#s with the chromatic F# key.
If you don't find the LH Eb/Bb sliver key comfortable to use, then just use the side Eb/Bb key instead.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Caroline Smale
Date: 2014-02-06 18:18
If you don't find the LH Eb/Bb sliver key comfortable then it's most probably due to fact that you aren't used to using it.
Whilst there may be a few players who guenuinely do have a problem with it I believe in most cases it's just a lack of familiarity with using it.
The fact that major performer "A" or your teacher doesn't like it shouldn't colour your approach - they probably don't share your choice of food either.
It is important that both RH and LH sliver keys should be adjusted so that they lie comfortably equi-distant between and parallel with your fingers (which is very likely not how the manufacturer shipped it).
Just give it a good long practice trial before making up your mind.
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Author: Dibbs
Date: 2014-02-07 14:48
Barry Vincent wrote:
> I second Norman's comments. "It's most important use is in
> quick chromatic passages, keeping the flow in the LH and
> avoiding need to rapidly synchronise the RH and LH".
> That's the principle idea why the original Clarinet designers
> put it there.
Not really. It predates the right hand side key. Without it you didn't really have much of a chalumeau Eb at all. I'm not sure why they didn't use a side key there originally. Possibly the lack of a thumb rest on early instruments made it more difficult to use R1.
> I call it the chromatic Eb/Bb 'sliver' key.
> And it's very easy to use.
>
> Matt74 asked "do you pick your ring finger up and put it on the
> key, or do you roll off the tone hole, and onto the key using
> the side of your finger"?
> No, that is the incorrect way to use it. If the LH 3rd is
> already down prior or after the Eb/Bb , then the RH Eb/Bb is
> used.
>
I've seen instruments with a roller on this key. Obviously the intention there was to slide off it at least. A lot of Albert system clarinets have it shaped so as to facilitate that too.
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Author: ThatPerfectReed
Date: 2014-02-07 14:19
With its chromatic use already clearly stipulated, allow me with humor to postulate yet another use for the key, albeit with humor:
It's been suggested to sharpen the point of this key as both an offensive and defensive weapon in situations where clarinetists are musically squaring off again each other in "dueling banjo style" type competitions, where one player executes a difficult passage, and the second player repeats it.
After a couple of rounds of this, sometimes, things get out of hand and matters turn into a ninja type hand to hand battle, where clarinets, of course, are permitted as weapons. In some clarinet quintets and ensembles, these brawls have been known to leave "blood baths" of broken reeds where repair techs, dressed in referree uniforms and battle gear have had to break things up, and address the carnage.
![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
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Author: Chris P
Date: 2014-02-07 14:46
B&H clarinets already have them sharpened like an ice pick - they also have a razor edge on the RH3 B/F# sliver key, so they're double hard!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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