MORALES, Ricardo - Alternate Fingerings for Throat Tones.pdf

MoBa Alternate Fingeri ingerings ngs for Throat Tones By Ricardo Morales

Introduction

How to Use This Booklet

Te 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 s everal 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.

Te highlighted tone holes are those that need to be covered. Please keep in mind that, at times, alternate fingerings will call for 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 critical musical thinking and, as such, it should remind us to think of the 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 upp er register. In this case, it is advisable to choose fingerings that can be used consistently.

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Fingerings for Open G 1. A warm and clear fingering that helps lower the intonation, while adding a little resistance helpful in register changes. Example:

Sibelius, Symphony No. 1 in E Minor  , Op. 39, First Mvt. – m10

 

Brahms, Symphony No. 3 in F Major  , Op. 90, First Mvt. – mm23–24, Solo m36

 

Debussy, Première Rhapsodie – m2, m14

2. A dark, clear and focused fingering, good for transitions. Can be used without the left-hand 3rd finger to make it a little darker, but sharper. Example:

Schubert, Te Shepherd on the Rock , D. 965

 

Weber, Variations , Op. 33 – m13

 

Brahms, Symphony No. 3 in F Major  , Op. 90, First Mvt. – m23, m35

3. Similar to Fingering 2, but easier transitioning to the upper register.

Open G

4

1

Open G

2

2a

3

5

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.

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:

Example:

Debussy, Première Rhapsodie – m5

1. First Mvt. – First 3 measures after Rehearsal 1

 

Bartok, Te Miraculous Mandarin – m14

2. Second Mvt. – Five measures after Rehearsal 1

(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.

Throat A♭

6

1

Throat A♭

1a

2

3

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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

3. A very resonant, dark and clear fingering. While it may be a bit 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 i n color. Example:

Finzi, Five Bagatelles: II. Romance – m1

 

Debussy , Première Rhapsodie – m12

 

Brahms, Clarinet Sonata No. 2 , Op. 120, No. 2 – m1

 

Beethoven , Symphony No. 6 in F Major   , Op. 68, First Mvt. –

 

Weber, Clarinet Concerto No. 1 in F Minor   , Op. 73,

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

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. – m1

 

Berlioz, Symphonie Fantastique , Op. 14, Tird Mvt. – Five measures after Rehearsal 43

2a. Similar to above with a slightly different resonance.

Throat A 

8

1

Throat A 

1a

2

2a

3

3a

9

Fingerings for Throat A 3b. Less resonant, but a l ovely, 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

Throat A (cont.)

10

3b

Throat A (cont.)

4

5

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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:

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.

Throat B♭

Example:

Shostakovich, Symphony No. 9 in E♭ Major   , Op. 70, Second Mvt. Solo – m8, m10

 

Sibelius, Symphony No. 1 in E Minor  , Op. 39, First Mvt. Solo – m12

 

Weber, Clarinet Concerto No. 1 in F Minor   , Op. 73, First Mvt. – m86

Sibelius, Symphony No. 1 in E Minor  , Op. 39, First Mvt. – Beginning Solo, m5

 

4. Clear and resonant. Slurs well to the upper register. It also works with the side trill key B ♭.

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

12

1

Throat B♭

2

3

4

4a

13

Additional Fingerings

 Additional Fingerings

14

Additional Fingerings

 Additional Fingerings

15

Additional Fingerings

 Additional Fingerings

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Opera Orchestra, the Chicago Symphony,

faculties of emple University and the Curtis

the Cincinnati Symphony, the Indianapolis

Institute of Music.

Symphony, the Seoul Philharmonic and the Flemish Radio Symphony. During his tenure

His performances have been met with

with the Metropolitan Opera Orchestra,

critical acclaim. Te Philadelphia Inquirer

Mr. Morales soloed under the baton of

hailed his appointment to Te Philadelphia

 James Levine in Carnegie Hall and on two

Orchestra, stating that “in fact, may

European tours. He made his solo debut

represent the most salutary personnel event

with Te Philadelphia Orchestra in 2004

of the orchestra’s last decade.” He was also

with Charles Dutoit and has since performed

praised by Te N ew York imes as having

as soloist on numerous occasions.

“... fleet technique, utterly natural musical grace, and the lyricism and breath control

Ricardo Morales

An active chamber musician, Mr. Morales

of a fine opera singer,” Mr. Morales was also

has performed in the ME Chamber

singled out in Te New York imes review

Ensemble series at Carnegie’s Weill Recital

of the Metropolitan Opera’s production of

Hall with James Levine at the piano, at

Berlioz’s Les royens, describing his playing

the Santa Fe Chamber Music Festival, the

as “exquisite” and declared that he “deserved

Philadelphia Chamber Music Society, the

a place onstage during curtain calls.”

Seattle Chamber Music Summer Festival, the Saratoga Chamber Music Festival,

His debut solo recording, French Portraits,

Ricardo Morales is one of the most sought

Philharmonic. He also performs as principal

on NBC’s Te oday Show, and with the

is available on the Boston Records

after clarinetists of today. He joined Te

clarinetist with the Saito Kinen Festival

Chamber Music Society of Lincoln Center.

label. Morales’ recent recordings include

Philadelphia Orchestra as principal clarinet

Orchestra and the Mito Chamber Orchestra,

He has performed with many distinguished

performances with Te Kalichstein-Laredo-

in 2003, having held the same position

at the invitation of Maestro Seiji Ozawa.

ensembles such as: Te Juilliard Quartet,

Robinson rio and also with the Pacifica

the Pacifica Quartet, the Miró Quartet, the

Quartet, which was nominated for a L atin

with the Metropolitan Opera Orchestra since the age of 21, under the direction of

A native of San Juan, Puerto Rico, Morales

Leipzig Quartet and Te Kali chstein-Laredo-

Grammy Award. In 2004, Mr. Morales joined

 James Levine. His virtuosity and artistry as

began his studies at the Escuela Libre de

Robinson rio. He has also collab orated

forces with internationally recognized

a soloist, chamber and orchestral musician

Musica, along with his five siblings, who are

with: Christoph Eschenbach, André Watts,

musical instrument designer, Morrie Backun,

have been hailed and recognized in concert

all distinguished musicians. He continued

Emmanuel Ax, Jean-Yves Tibaudet, James

to develop MoBa, a line of professional

halls around the world. He has been asked to

his studies at the Cincinnati Conservatory

Ehnes, Gil Shaham and Kathleen Battle. Mr.

clarinets and clarinet accessories by B ackun

perform as principal clarinetist with the New

of Music and Indiana University, where he

Morales is highly sought after for his recitals

Musical Services.

York Philharmonic, the Chicago Symphony

received an Artist Diploma.

and master classes, which have taken him

Orchestra and at the invitation of Sir Si mon Rattle, as principal clarinet with the Berlin

He has been a featured soloist with many

throughout North America, Europe and Asia. In addition, he currently serves on the

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MoBa Clarinets “I have always believed that artists should never make compromises in their technique, their equipment and, most importantly, in their music making.” Ricardo Morales 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 titanium tenons for uncompromising fit and an automatic Low F Vent for unrivalled 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 more about MoBa Clarinets. MoBa Bb Grenadilla Silver, MoBa A Cocobolo Gold, Mo Ba Bb Grenadilla Rose Gold

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Visit the Backun Musical Website for More Clarinet Resources: [email protected] www.backunmusical.com

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