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8/17/2019 Fingerings for Throat Register - Clarinet
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MoBa AlternateFingerings forThroat Tones
By Ricardo Morales
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IntroductionTe purpose of this booklet is to maintain our collective curiosity
about the myriad of possibilities to be expressive with the clarinet.
Tere have been many books on fingerings printed in the past.
Hopefully, there will be many more in the future. However,if you are able to find even one fingering useful, the mission
of this booklet will be accomplished. More than anything, I
would like to encourage you to use your imagination to further
expand on the information given. Tere are several pages in the
back of this booklet with blank fingering diagrams for you to
discover your own alternate fingerings, or to share with your
colleagues. It should also be noted that some fingerings may
vary in effectiveness, depending on the brand of instrument and
mouthpiece played, and ultimately, the ability and sensitivity of
you, the artist.
How to Use This BookletTe highlighted tone holes are those that need to be covered.
Please keep in mind that, at times, alternate fingerings will call f
semi-closed tone holes. Te highlighted keys are the ones that
need to be actuated.
It is very important to understand that, while having alternate
fingerings is useful, they are only as useful as one’s level of
musicianship and sensitivity. Tis is a guide to encourage critica
musical thinking and, as such, it should remind us to think of th
clarinet as a tool of expression.
Good luck,
Ricardo Morales
Principal Clarinet, Te Philadelphia Orchestra
Co-Developer, MoBa Clarinets and Accessories by Backun
Clarinet Faculty, Te Curtis Institute of Music
Clarinet Faculty, emple University
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About Throat Tone Fingerings
Because the throat notes use the shortest amount of the bore
to resonate, it is advisable to use resonance fingerings that can
elongate the tube to improve the tone, solidify the intonation
and smooth the transition to the upper register. In this case, it isadvisable to choose fingerings that can be used consistently.
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Open G
1 2 2a 3
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Throat A♭
Fingerings for Throat A♭
1. A warm, solid fingering that can be the “standard” fingering, as
it blends well, and works well the with A and B♭. Tis fingering
also slurs well to the upper clarion and matches, in color, with
long B and C.
Example: Debussy, Première Rhapsodie – m5
Bartok, Te Miraculous Mandarin – m14
(through the rest of the solo)
1a. For the excerpt below, use this alternate fingering.
Example: Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. – m36
(if performed on B♭ Clarinet)
2. A duller fingering that can be used to ease the transition to
the upper register.
3. Te clearest, most powerful and versatile fingering for A♭.
Example: Nielsen, Concerto for Clarinet and Orchestra , Op. 57 [D.F.129]
First Solo
Shostakovich,Symphony No. 1 in F Minor , Op. 10:
1. First Mvt. – First 3 measures after Rehearsal 1
2. Second Mvt. – Five measures after Rehearsal 1
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Throat A♭
1a 2 31
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Throat A
Fingerings for Throat A
1. A very warm and useful fingering, and one that works
especially well on the neighboring half-steps A♭/B♭ to create
evenness and smoothness. Tis fingering transitions well to
the upper register.
Examples: Debussy , Petite Pièce – m1
Debussy , Première Rhapsodie – m12
Beethoven , Symphony No. 6 in F Major , Op. 68, First Mvt. –
Solo Before G, mm291–297 and Solo After K, m477, mm480–481
1a. Similar to above with a slightly different resonance.
2. Dark and focused, this fingering also tends to have more
glow and works well slurring to C and B. It tends to be a little
sharper than Fingering 1.
Example: Weber, Concertino in E♭ Major , Op. 26 – Introduction
2a. Similar to above with a slightly different resonance.
3. A very resonant, dark and clear fingering. While it may be a
awkward, with practice it can become one of the standards
It slurs well to the upper register and is extremely stable for
intonation and is flexible in color.
Example: Finzi, Five Bagatelles: II. Romance – m1
Brahms, Clarinet Sonata No. 2 , Op. 120, No. 2 – m1
Weber, Clarinet Concerto No. 1 in F Minor , Op. 73,
Second Mvt. – m1
Puccini, osca, E Lucevan le stelle – Solo
3a. Similar to above with a slightly different resonance.
Example: Brahms, Symphony No. 3 in F Major , Op. 90, Second Mvt. – m
Berlioz, Symphonie Fantastique , Op. 14, Tird Mvt. –
Five measures after Rehearsal 43
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Throat A
1 1a 2 2a 3 3a
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Throat A (cont.)
Fingerings for Throat A
3b. Less resonant, but a lovely, dark sound at softer dynamics.
Recommended for delicate passages.Example: Finzi, Five Bagatelles: II. Romance
4. Not as resonant as Fingering 3, but it will still stabilize the
pitch and is useful when a passage requires resonance.
Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Fifth Mvt. –
Solo, mm3–4
5. Similar in both color and resonance to Fingering 3, but may be
easier to access in different passages.
Example: Beethoven , Symphony No. 6 in F Major , Op. 68, Tird Mvt. –
mm124–125
Shostakovich , Symphony No. 1 in F Minor , Op. 10, First Mvt. –
Second Measure after Rehearsal 1
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Throat A (cont.)
3b 4 5
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Throat B♭
Fingerings for Throat B♭
1. Good standard fingering. Works well when playing
neighboring A♭ or A.
Example: Debussy, Première Rhapsodie – m5
2. Perhaps the best overall fingering for Open B♭. Tis fingering
is resonant, clear and keeps the intonation lower and more
stable.
Example: Sibelius, Symphony No. 1 in E Minor , Op. 39, First Mvt. –
Beginning Solo, m5
Puccini, osca, E lucevan le stelle – Solo
3. Tis fingering is especially warm. It tends to be sharper than
Fingerings 2 or 4, but blends well, especially in passages that
have the throat A.
4. Clear and resonant. Slurs well to the upper register. It also
works with the side trill key B♭.
Example: Shostakovich, Symphony No. 9 in E♭ Major , Op. 70, Second M
Solo – m8, m10
Sibelius, Symphony No. 1 in E Minor , Op. 39, First Mvt. Solo –
Weber, Clarinet Concerto No. 1 in F Minor , Op. 73,
First Mvt. – m86
4a. Not as resonant as Fingering 4, but works well in intimate
passages.
Example: Brahms, Clarinet Sonata No. 1 , Op. 120,
No. 1, Tird Mvt. – Beginning
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Throat B♭
1 2 3 4 4a
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Additional Fingerings
Additional Fingerings
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Additional Fingerings
Additional Fingerings
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Additional Fingerings
Additional Fingerings
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Ricardo Morales is one of the most sought
after clarinetists of today. He joined Te
Philadelphia Orchestra as principal clarinet
in 2003, having held the same position
with the Metropolitan Opera Orchestra
since the age of 21, under the direction of
James Levine. His virtuosity and artistry as
a soloist, chamber and orchestral musician
have been hailed and recognized in concert
halls around the world. He has been asked to
perform as principal clarinetist with the New
York Philharmonic, the Chicago Symphony
Orchestra and at the invitation of Sir Si mon
Rattle, as principal clarinet with the Berlin
Philharmonic. He also performs as principal
clarinetist with the Saito Kinen Festival
Orchestra and the Mito Chamber Orchestra,
at the invitation of Maestro Seiji Ozawa.
A native of San Juan, Puerto Rico, Morales
began his studies at the Escuela Libre de
Musica, along with his five siblings, who are
all distinguished musicians. He continued
his studies at the Cincinnati Conservatoryof Music and Indiana University, where he
received an Artist Diploma.
He has been a featured soloist with many
orchestras, including: the Metropolitan
Opera Orchestra, the Chicago Symphony,
the Cincinnati Symphony, the Indianapolis
Symphony, the Seoul Philharmonic and the
Flemish Radio Symphony. During his tenure
with the Metropolitan Opera Orchestra,
Mr. Morales soloed under the baton of
James Levine in Carnegie Hall and on two
European tours. He made his solo debutwith Te Philadelphia Orchestra in 2004
with Charles Dutoit and has since performed
as soloist on numerous occasions.
An active chamber musician, Mr. Morales
has performed in the ME Chamber
Ensemble series at Carnegie’s Weill Recital
Hall with James Levine at the piano, at
the Santa Fe Chamber Music Festival, the
Philadelphia Chamber Music Society, the
Seattle Chamber Music Summer Festival,the Saratoga Chamber Music Festival,
on NBC’s Te oday Show, and with the
Chamber Music Society of Lincoln Center.
He has performed with many distinguished
ensembles such as: Te Juilliard Quartet,
the Pacifica Quartet, the Miró Quartet, the
Leipzig Quartet and Te Kali chstein-Laredo-
Robinson rio. He has also collab orated
with: Christoph Eschenbach, André Watts,
Emmanuel Ax, Jean-Yves Tibaudet, James
Ehnes, Gil Shaham and Kathleen Battle. Mr.Morales is highly sought after for his recitals
and master classes, which have taken him
throughout North America, Europe and
Asia. In addition, he currently serves on the
faculties of emple University and th
Institute of Music.
His performances have been met wit
critical acclaim. Te Philadelphia Inq
hailed his appointment to Te Philad
Orchestra, stating that “in fact, may
represent the most salutary personn
of the orchestra’s last decade.” He wa
praised by Te N ew York imes as h
“... fleet technique, utterly natural mu
grace, and the lyricism and breath co
of a fine opera singer,” Mr. Morales w
singled out in Te New York imes r
of the Metropolitan Opera’s produc
Berlioz’s Les royens, describing his p
as “exquisite” and declared that he “d
a place onstage during curtain calls.”
His debut solo recording, French Por
is available on the Boston Records
label. Morales’ recent recordings inc
performances with Te Kalichstein-L
Robinson rio and also with the Paci
Quartet, which was nominated for a
Grammy Award. In 2004, Mr. Morale
forces with internationally recognize
musical instrument designer, Morrie
to develop MoBa, a line of profession
clarinets and clarinet accessories by BMusical Services.
Ricardo Morales
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MoBa Clarinets
“I have always believed that artists shounever make compromises in their techniqu
their equipment and, most importantly, in themusic making.”
Ricardo Mora
Co-Designed by Morrie Backun and Ricardo Morales, and handcrafted at
Backun Musical, MoBa Clarinets give artists an exceptional tool to achieve
the unachievable. Unique features include: a proprietary posting system
with precision keywork for true touch sensitivity, carbon fiber and titaniumtenons for uncompromising fit and an automatic Low F Vent for unrivalle
tuning.
Models: MoBa Bb and A Clarinet - Woods: Ethically and Sustainably
Harvested Grenadilla or Cocobolo - Keywork: Silver or Gold - Accessories:
wo MoBa Barrels and One MoBa Bell
Visit the Backun Musical website, or contact your local dealer, to learn mo
about MoBa Clarinets.
MoBa Bb Grenadilla Silver, MoBa A Cocobolo Gold, Mo Ba Bb Grenadilla Rose Gold
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MoBa Barrels
Barrels as Unique as the ArtistWho Play Them
MoBa Barrels produce a full-bodied resonant
sound that is flexible throughout the clarinet’s
tonal spectrum. Ease of articulation in the upper
range and exceptional sound quality are just a few
characteristics of this collaboration between Morrie
Backun and Ricardo Morales.
Models: Adaptable for both B♭ and A Clarinets -
Woods: Ethically and Sustainably Harvested Grenad
or Cocobolo - Available in various lengths for : Buffe
Leblanc, Yamaha, Selmer Paris and Other Clarinets
Visit the Backun Musical website, or contact your
local dealer, to learn more about MoBa Barrels.
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MoBa Bells
A Force to be Reckoned With
Big halls are no match for the MoBa Bell. Designed by Morrie Backun and Ricardo Morales, this Bela powerhouse that is well suited to large orchestral and solo stages. With a taper unique to the Mo
product line, and a thick pronounced bell curve, the MoBa Bell offers players exceptional versatilit
and projection.
Models: Adaptable for both B♭ and A Clarinets - Woods: Ethically and Sustainably Harvested
Grenadilla or Cocobolo - Fits: Buffet, Leblanc, Yamah
Selmer Paris and Other Clarinets
Visit the Backun Musical website, or contact your locdealer, to learn more about MoBa Bells.
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MoBa Mouthpieces
True Harmony in Craftsmanship
MoBa B♭ Mouthpieces need no introduction; after all, they’re playon major concert stages around the world. With eleven models in
our line-up, finding your ultimate mouthpiece is closer... or wider..
than you think.
Pint Sized Perfection - Delicate when needed - powerful on
command, MoBa E♭ Mouthpieces are yet another tool in your
performing arsenal. Te two models represent a wide range of
playing styles from chamber and solo, to wind ensemble and
orchestral work.
A New Low - MoBa Bass Mouthpieces are the first, and last, word
in bass playing. Your closest ally on stage, or in the pit, these
mouthpieces offer immediate response and true warmth of sound
With two models to choose from, no repertoire is out of reach.
For a detailed list of MoBa Mouthpiece models, as well as a sizing
and comparison chart, visit the Backun Musical website, or contac
your local dealer.
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www.backunmusical.com
Credits: Ricardo Morales, Content; Joel Jaffe, Concept & Production; Warren Neily, Design; Nathan Garfinkel, Photography
Visit the Backun Musical Websitefor More Clarinet Resources:
MoBa Alternate Fingerings for the Upper Register
MoBa Alternate Fingerings for the Altissimo Range
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