Professional Documents
Culture Documents
Clarinet Fingerings-Ridenour PDF
Clarinet Fingerings-Ridenour PDF
~
u! asealaJ uo!le3!lqnd JOJ palnpaqx s! "s3!seg lau!Jel3,, , ; I ~ U ! J E I aqlol ap!n3 scJole3npx
a q ~ ,U!
, le!~aiewZu!q3ea1 a y uodn paseq yooq as!a~axaue ','sJ!sefl I ~ u ! J E [pue ~ , , 'iau!~ep
aql 3u!q3eaijo poqlaw a1aldwo3 e ,,'iau!~el3 a q l o ~ap!n3 s'Jole3npg aqL,, uall!JM os[e seq moL
Jnouapw s e m o u Lq syooq l a w
themselves may simply create confusion unless their use is guided by a well-developed musical
sensitivity and insight. T h e inner vision we have of music, not just digital expedience, must always
guide our technical choices. When teachers encourage their students to develop such objective
insight, unclouded by the various limitations and conventions of clarinet technique, much will be put
into perspective. Such a sensitivity, once awakencd, always strives for morc than just technical ease,
but demands a perfectly satisfying artistic solution to every technical problen~.
I believe that when this inner vision of music becomes the touchstone from which all development
takes place, playing music and playing the clarinet will become unified in a way not otherwise achiev-
able. Considering the deep human drive for and the rich resources of the clarinet, we need
not settle for less, both as an ideal to strive toward and a reality to achieve, if but fleetingly.
Foreword to the S
ixth Printing
When "Clarinet Fingerings..." was first written in 1985 I did everything I knew to make it thorough
in content as well as easy and convenient to use. It has now gone into its sixth printing, has had
sustained sales for almost a decade and a half and is now being used by a generation of clarinetists
who were hardly out of diapers when it was first written. Everywhere I go I find clarinetists and
educators who tell me how useful the book continues to be to them. "I keep it on my stand all t h e
time." is a comment I frequently hear. Fifteen years, in the sum of things, is not even a particle of a
particle, but in this world which is drastically changing at such an alarming rate, fifteen years seems
almost an eternity. I am grateful it has lasted this long, and hope that it continues to benefit both the
educator and performer as w e launch into the uncharted waters of the twenty-first century.
Tom Ridenour, Jan. 2000 A.D.
Denton, Texas
Throat Tone Fingerings
Suggested uses:
Brahms. Sonata #2, mvt. 2, ms.1-3
A'
Suggested uses:
Brahms, Sonata #2, mvt. 1, ms. 1
Brahms, Sonata #2, mvi. 1, ms. 22-23
Suaaested uses:
&d;;ms, Sonata #2, mvl. 1. ms. 2
Blahms, Sonata # 1, mvt. 2. ms. 9 B 11
Debussy. Premdre Rhapsodic, ms. 2
Suggested uses:
Weber, Concerfo X I , mvt. 1, ms. 86
The fingering combination below is suggested in
playing to the lower clarion from the side key throat
Bb:
Suggested uses:
Brahms. Sanafa # 2 mvt. 1, ms. 115
Suggested uses:
Brahms, Sonara #2, mvt. 1, ms. I 8 & 150
Suggested uses:
MorM. Trio, mvi. 3. ms. 11-13 after letter Z
Suggested uses:
Weber, Quintet, mvt. 1, opening clarinet pitch
Saint-Sa&s, Sonala, mvt. 1, ms. 16
Brahms, Sonaia #l, mvi. 1, ms. 58, 149
Brahms. Trio, mvi. 2, ms. 1
Schumann. Romances, mvt. 1, ms. 7 & 2 measures
before letter C
Debussy. PrernGre Rhapsodic, 5 measures after
number 3
Schumann. Phantasieswke, mvt. 2.ms. 25
Suggested uses:
Poulenc. Sonafa, mvt. 2, opening measures
Suggested user:
Lkbussy. Premi6re Rhapsodie. 11 measures before
number 6
Finzi. Five Bagatelles, mvt. 1, 1 measure before
number 3
Schumann, PhanrasiesWke, mvt. 2, ms. 35
Poulenc, Sonata, mvt. 1.7 measures aner number 6
Suggested uses:
Lkbussy. Premidre Rhapsodie, 7 measures afier
number 10
Brahms, Sonata # I , mvt. 2, ms. 100
Poulenc, Sonata lorGI. & Bsn., mvi. 1. 1 measure before
number 1
suggested uses:
Benjamin. Le Tombeau de Ram;, 9 measures aner
number 1
Milhaud, Sonatine. mvt. 3,5 measures before number 17
Suggested uses:
Lkbussy, Premiere Rhapsodie, 2 measures before
number 6
Suggested uses:
Weber. Ouintef, mvt. 4. 16 measures before lener K
Suggested uses:
d in the slow mvts. of the Mozart Concern and Mozan
$?: closing phrases of the Brahms Quintet, mvt. 2
--==--~-- ----
Debussy. Pmrniire Rhapscdre. 2 measures aher number
2 R 2 measures atter number 3
Nielsen. Concern. 17 measures aher number .W
Reger. Ouintet, mbi 3. ms 5
Suggested uses:
Cooke, Three Songs of Innocence, mvt. 3.1 measure
before number 3
Piston, Concern, ms. 340
Bartbk, Contrasts, mvt. 1, ms. 45
Pouienc. Sonata. mvt. 1, ms. 4
Stravinsky, Fimbird, 4 measures after number 11
Suggested uses:
Prokotiev. Sonata, mvi. 1, ms. 1
Suggested uses
Suavinrhy. LHismire du Soldat, Musigue de la Premiere
Scene. 1 measure before number 13 (Usewrih d # 10)
Suggested uses:
Prokofiev, Sonata, mvi. 1, ms. 1
.sJnls ys!nb pun w e u s ~ o u!
s pasn lsaq
! ~ .ZL
s! U .6u!unl pue asuodsa) u! poo6 ban s! 6 u ~ a 6 us!41
'Ilam AP!~J
%auntmq '146!~4pus u!ua s! 6u!~a6ugs!q1 .oi
'(Ja8u!lalpp!w pueq wal
aqt II!J~ pua w uo!~epmolwano) I!R #jot ,j ue se JO
(Lay +3 pew= ~ V M z .ON9 0 8 II!~)~li't (D 08 iy~ese
pasn aq ilq!ssod urn u '1e3!1!~3s! 6u!un1 a J a wsa6essad
~
J O alqesnun g sayew ssaud~eqsawailxa s,6u!~a6u!ls!ql 81
'SVeUe lawos pus sdeal u! afqepuadapun
pue qs!66n1s s! Inq 'aunt u! Ilam s! &r!~a6u!t s!ql ' L I
'sa6essed yqnb u! 1da3xa asn sl! n!q!qoJd naud~eqs
'91
s.atou s!u 'asU0dSaJ UI poo6 pus ajqw!t u! 11n4q 6 n o q 1 ~
,--....~
s 6ulun) as!aa~dalaqm sa6ened 101 pOpIJJUJluWel
IOU s! pue ssaud~ewpua ssav1~6yqspJemo1 spual u
sIaAa1a!u.euhp IIB te asucdsal U! w!nb S! 6uuaBuu s ! u SI
.peJ!nbeJ s! 9SUcdSaJ x$!nb 8 alaqm sa3uelsu!
awos u! pasn aq urn I! q6noqlla 'sa6essed o$l 08
asn sll sllw~lssauawoslaaurno su 'auol Bu~uleisnse se
I=ruatod 'boo6 ssq )nq ,1481uq~11i6!p;s! ii .(daie3!pu! 8ouj
oueq 146u a41 UI Aay jan!ls e q ~6u!ppe Aq o,ou olu!~e
P~SIOJaq urn PUB q1t!d U! 101 AnqB!p; AIUO S! atou s!q- PI
'asn pal!w!~l o sl pus bn1s pus lew s! atou s!ql 'EI
.slanal o!weuKp lapnot
1e pay3eue Ala~naasaq Kluo ue3 ppu adeal u! alqe!laJtou
s!u 'Iln) s! aJqw!&sl! pue PO& s! atou s!qt $0Bu!uni a q l Z I
aJnseaw
leu!& '1 'WW 'mup pug an JW lweno 'uae!aan
- ,-..-,
:!UeuAP Uos Ot Pal!W!l aq plnoqs asn st! pue k n l s s! I!
JaAaMoq :?.deal u! poo6 s! pue aunt u! !lam s! alou s l u ~I ,
'uO!lep ~ a d d naq) 4 0 )no 6U!JJnlS
01 asn st! s~!w!laaupJemympsu .s3!ureuhp IE ze sdeat
u! iIao!nb spuodsal pun slam1 o!wauKp 80s 1. lnlesn
h a & s! u 'a1qea6euew inq 'q6!q osp s! 6u!laBvg s!ql 0 1
'tauyep qa aq8 uo Allepadsa
'te11 apeqs a s! inq 'sdeal u! )lam haA spuodsa~9 s ! q ~.6
' s a p s i s ~u!j JO
!1!4 08 (J ue sa pasn tsaq s! +nq'Y~PUBU! a~qepuadap
toU S! ll 'W!d U! 1EU A846!l~A l ~ oS! 6u!1aSu& S!ql '8
'Sky ap!s lUOUoq qlOq 6upn Aq pas!EJ aq k w ~ t ! d
a l u 'q6noua p!de~sl a6sssed aqi I! paa!wo aq dew Aay
JW!IS pueq WB!Ja u .sa6essed o!teuro~wpus O!UOIE!P
p!de~u! pasn aq urn mq 'wt!d u! no1 s! 6u!~a6ugs!ql ' r
'lngua
s! 6u!unl aJaqm sa6llssed JOJ papuawwolal tou pue
tell s! tnq '2 'ON 9 10 UO!lE!leA e O W s! 6u!~aBuyS!ql '9
'6u!punos
-paJanm a ~ o ws! pua w d u! lam01teqmawos s! inq 'z
'ON ,O se sajnteaj pua sasn awes aw seq 6u!~a6uys!ql 's
.6ujeld
pau!elsm JO) q3t!d u! no1 mi 'lanamoq 'st 'w!weUp
u
isauos aw w q 11- u! )lam syeads puu ( J O U !a~'9 '9)
so!66adla u o w w w Auew to alou dot aw ss poo6 s! u
-6u!unlpue asuodsa~poo6A)Bu!s!~d~ns seq 6uua6ugs!q1 .C
'PaDuewaD am uol~etaJaddn am w o ~ l
sdea~w!nb uaqn inbasn )so& s! 6u!~e6u&s ! u .paiiqpu!
auo aui uew JaqteJ Aaa IIUJ dot aqi 6upn Aq ~ U Nu!
!lam paKeld aq u n pue leu Altq6!1s Aluo s! 6uua6u!1 s!ql 'E
'6u!vnp yo!nb 'ap!n
PUe SWWE UOS qloq U! 1 'ON 9 UEy W!SUOdSaJ OJOW
UonlU S! U 'JafiU4 6u!1 PUEU 346!Jatla ql!M a6EJaACQl ~ ! w d
Aq paunt-au!) aq u n inq 'd~sqsaq ot spuai osle 9 s ! .Z~
'ln!i!~3am Q p ! n ~pua
ssauqtoows aJaqmsalns j JO '9'3 p!deJ u! pasn aq tou
plnoqs pue ,XJ 01 umop ~ U ! J J ~ I Suaqm atw!saq JO dod
ot spuat osla u 'slanal o!wedp urn i s sdeal ap!m pue
S9341euos u! alqepuadap sAemp wu s! 11's3gspawe~eqo
IeUOt poo6 Sell alou s!w q6noqiw 'Ja6U!l 6u!J pueq
Ual alll 6u!so13AIIE!VE~ JO Alaialdww Aq pauni-au!~aq
u n pue dleqs s! u .$ JOI 6u!~a6u!1p ~ . s p w saw s! s ! u .I
'ssaulnbasn lequqaai
st! sl!lu!l LlieaJ6 SsauplemyMa q! inq 'ka!ls!lame,~q3
6u!un1 pue asuodsa~ )uallesxa seq Buua6u!) s!q1 .6i
'h8)os
paheld uaqm squow~aqJ ~ M O I a3npoJd pus alei!saq
01 Spual PUB 6U!JJnlS U! aJnoaSU! S! Vlq ' S ! W ~ P MOI
ie Ala~ruasp a w w e aq ue3 u '&el)leqmawos s! qa!d s ! u '81
'naulnlasn
Sl! SZW!l SSJUPJeWMB Su .sdea~ ap!M u! aJlaas
tou s! tnq s'!fms
i u! poo6 s! u 'Lay ~ads!qms se hay #J
MOl all1 6u!ppa Aq pJS!BJ aq U r n in4 'legs! 6U!JJ6U!) S ! U 'Ll
.w!weuhp
Ile te llam SpUOdSaJ pus aunt u! llafi &an s! wl!d s!ul '91
'(81 .ON ,#jasn) II!J~ ,#9ot ,#jus se 1n)asn
S! U 'IlaM SPUO~SJJ PUB Bun) U! JlaM S! 6U!Ja6ULI S ! U '51
'~a6ugpueq 146!J
alpp!w alg ql!m pauni-aug eq Aew u .nau&eqs pJemol
spuat inq 'asuodsa~pue a~qw!tpoo6 ssq Buya6ug s ! u .El
'JadJeqs tewawos I! 6u!yew 'hay J~A!IS
pueq Ual aqt JOJ painl!wqns s! Aaa ap!s pueqlq6!Jwouoq
aql leqi Jdaxa 11 'ON ,w se 6u!,aBu!j awes aqt s! s!ql '21
,s?!ts!Japelotp 6u!unj pus esuodsa~
U! 01 'ON ,WPUE 6 'ON ,W 01 Ip1!W!S S! 6U!JJ6ULl S ! U 'II
'pasn s! L 'ON p u a w SI!JI ,W ot pus s a p s
3!lewOJqo u! Inlasn s! q -paleu!w!la aq eur hay ~an!ls
P
pueq Ual aql sa6essed Jalse) UI 'sdeal ~ s o wpup s w w e
u! llam spuodsal pus aunl u! llam &an s! 6u!~efiugs!ql .01
.tuan Jads!qm aqt sa pasn s! #jm q aql
I!an!suodsaJ aJow uana s! pua aunl u! 11ams! alou s!ql
.~anamoq'naulnjasn a! a!w!y ssaupJeMyme
sq ,asuodsa~ puu Bu!un? luallmxa seq alou s!ql ' L
' p a 6 se tou S! tnq
'E 'ON (v jo uo&vyeAa SI u 'tell tsqmawos s! atou s ! u 'r
.6uua6u!j pjepuets
a41 PaJap!sum aq plnoqs pua I .ON p uaqz 6u!unt
pua asuodsa~u! Ja!sea pus Jaljnj w n w s! 6u!~a6u!is!ql ,z
'qo)!d U! dlEW
osle s! 1 'Aay .#3 laMol aq) )noq&!m 01 .ON ,D 6u!sn
.ION,v 08 ,D e'jo dot at# SE pua swalum p&odxaun
A ~ e ut
u lnlasn st u pallsap eq ol q?nw saneal asuodsal
511(nq 'plepue~saqt paJap!sum uauo SI 6ul~aGurjsiq1 1
10. This pitch is very flat and its awkwardness limits its
usefulnew.
13. This fingering tunes well. The top side key may be added
or subiracted as necessary.
14. The timbre of this pitdl is very full and warm and it is
only a shade low in pitch. It is excellent from covered F
and responds well in both attacks and slurs at all
dynamics.
16. Thin-sounding, but well in tune, the right hand sliver key
may be substituted for the side key in this fingering.
Appendix of compositional examples
Alwyn. Sonata for Clarinet and Piano. Boosey & Muczynski, Time Pieces for Clarinet and Piano,
Hawkes Theodore Presser
Bartok, Contrasts for Violin, Clarinet, and Piano, Nielsen. Concerto, op. 57, Kistner
Boosey & Hawkes
Pierne, Canzonena, op. 19, Leduc
Benjamin, Le Tombeau de Ravel, Boosey & Hawkes
Piston, Concerto for Clarinet and Orchestra
Berg, Vier Stucke fur Klarinene and Klavier, op. 5. (reduction for clarinet and piano by the
Universal composer), Associated Music Publishers, Inc.
Bernstein, Sonata for Clarinet and Piano, M. Witmark Poulenc, Sonata for Clarinet and Piano, J.&W.
& Sons Chester Ltd.
Brahms. Klavier Trio, op. 114. C.F. Peters Poulenc, Sonata for Clarinetand Bassoon. J.& W.
Chester Ud.
Brahms, Quintet in b minor, op. 115, C.F. Peters
Prokofiev, Sonata, op. 94 (transcribed and edited
Brahms, Sonata # I in f minor, op. 120, No. 1, C.F. for Bb Clarinet and Piano by Kent Kennan),
Peters Ludwig Music Publishing Co.
Brahms, Sonata #2 in Eb Major, op. 120, No. 2, C.F. Reger, Quintet, op. 146, C.F. Peters
Peters
Rozsa, Sonatina for Clarinet Solo, op. 27,
Castelnuovo-Tedesco, Sonata, op. 128, Ricordi Rongwen Music
Cooke, Three Songs of Innocence, Oxford Press Saint-Saens. Sonatepour Clarinene et Piano, op.
167, Editions Durand & Cie.
Copland. Conceno for Clarinet and String Orchestra.
Bwsey & Hawkes Schubert. Der Hirt auf dem Felsen, op. 129, G.
Schirmer
Debussy, PremiGre Rhapsodic, Durand & Cie.
Schumann. Phantasiestucke for Violin (or
Finzi, Five Bagatelles, Boosey & Hawkes Clarinet) and Piano, G. Schirmer
Franpaix, Conceno pour clarinene et orchestre, Schumann, Three Romances, op. 94, G.
Editions Musicales Transatlantiques Schirmer
Hindemith, Sonata for Clarinet and Piano, Schott Stravinsky, Firebird Suite
Milhaud, Sonatinepour Clarinene et Piano, Durand & Stravinsky, Three Pieces, J.& W. Chester
Cie.
von Weber, Concerto # I , op. 73, Breitkopf und
Mozart, Concefto in A Major, K. 622 Hartel
Mozart, Kegelstan Trio, K 498, International von Weber, Quintet. op. 34, Lienau