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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 achievable. 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.
Thomas Ridenour, 1986

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

1. This is a good resonance fingering useful in slurring to

and from C? and in combination with A' resonance

fingering No. 1. The quality of this fingering is further
improved by using low F# rather than low F when it is
technically convenient.
2 This resonance fingering is not as good as Ab' No 3, but
is convenient to use in conjunanon with throat tone A'
ho 3
3 This fingering has the happy ana rare minccdence of
be.ng both the simplest and the best Its simplicity mares
it useful in most every situation and its beauty is selfcraaent.
Suggested uses:
Brahms. Sonata #2, mvt. 2, ms.1-3

A'
1. This is a very good fingering, especially slurring to

C?.

2. This fingering really does not have the resonance that

other combinations have, but it is aviable fingering when
nothing else is possible.
3. This is the darkest and most resonant combination for A'.
It is unfortunatelyme most complex and is too awkward
for complicated or rapid passages.
Suggested uses:
Brahms, Sonata #2, mvt. 1, ms. 1
Brahms, Sonata #2, mvi. 1, ms. 22-23

1. This is the darkest and most resonant of the

combinationsforBb'. This combinationis also verygood
with the side key Bb, which significantly improves its
resonance, although it is a bit of a stretch for the right
hand.
Suaaested uses:
&d;;ms, Sonata #2, mvl. 1. ms. 2
Blahms, Sonata # 1, mvt. 2. ms. 9 B 11
Debussy. Premdre Rhapsodic, ms. 2
2 Th:s is an adequate fingering, especially useful in

combination with Ab' No 2 and A' No. 2.

3. A simple and yet very resonant fingering, this is

especially useful with the side key Bb because the right
hand is free to reach unhindered.
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:

from this position is

All that is required to play
movement of the left hand thumb and index finger.
This method may seem needlessly complicated, but
a few serious attempts usually demonstrate how it
simplifies rather than complicates many passages. An
ideal passage for the initial practice of this method is
the fdlowing clarinet solo from the Finale of the
Beethoven Septet, opus 20:

After learning this passage confidently, the following

problematic material may be tried:
Debussy, Premi&re Rhapsodic, opening measures
Brahms, Sonata #2, mvt. 1
Bmhms, Sonata # I , mvts. 2 and 3
Initially, most players notice that their right hand
fingers experience a sense of vertigo when the thumb
is taken from its rest. Sometimes it expedites the
learning process to anchor the little finger of the right
hand to the low F key, using it as a point of
orientation. Practicing in front of a mirror during the
initial stages will also help to quickly achieve a sense
of security.

1. The standard fingering for B2, this tends to be sharp on

most clarinets.
2. This fingering tends to be sharp, but manageable in
pitch. It is very useful when perfect upward slurs to c#'
or d are required. This fingering is not dependable in
soft attacks.
Suggested uses:
Brahms. Sanafa # 2 mvt. 1, ms. 115

3. This fingering is very useful in soft passages. Though a

bit unstable, it can be played well in tune. Its blowing
resistance is too great to make it useful at louder
dynamic levels.
Suggested uses:
Brahms, Sonara #2, mvt. 1, ms. I 8 & 150

1. This fingering is dark in -lor and has good blowing

resistance without being siufty. k is very easy to attack,
especially at son dynamics. Technically it is most usefu.
as a trill fingering from 8b' to
but it is also good in F
and Bb scales wnen it is the top note of the passage

6,

Suggested uses:
MorM. Trio, mvi. 3. ms. 11-13 after letter Z
2. This fingering is useful in soft anacks and legato
passages. It is faulUess in legato passages which c;oss
to or from the lower altissimo. Although it is somewhat
awkward to learn,it is well worth the trouble. It is very full
in timbre and a bit sharp in pitch, but very manageable.
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
3. This fingering is sharp, but responsive

4. This fingering is well in tune, but can only be used at

medium dynamic levels. Its tendency is to produce

undertonesatsofter dynamics and its resistanceprevents
its being used at louder levels. its awkwardness limits its
use to mnvenient slurs at medium dynamics.
5 Tn~sflngerlng

e very responsive at mob1 all dynamlc

levels although there ,s a sl~ghttendency to produce a
h nl of an undertone a1 extremely solt dynamlc levels
Suggested uses:
Poulenc. Sonafa, mvt. 2, opening measures

6. This fingering is very well in tune, but very subdued in

wlor. Its extra blowing resistance makes it ideal for
extremely son playing. It can also be used as a trill from
B2No. 3 at whisper dynamics with no fear of undertone.

1. This is the standard fingering for CX'. It tends to be

somewhat bright and resistant. Although it is easily

played at full and medium dynamics, it does not hold its
color well at a son volume.
2. like all of the fingerings vented by the open thumb, this
fingering is full and dark in timbre. It is easily anacked at

all dynamics and is responsive in even the widest of

leaps. It is especially g o d in son passages.
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

3. This fingering is somewhat bright and thin in timbre, but

may be deepened and darkened by adding the len hand
ring finger and low C# key. It is best used in rapid
passages where its tonal deficiencies are not apparent
and in C? to CX' trills.
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
4. Thinness of timbre and flatness in Ditch charaaerize
-~ this
~~~

fingering. This flatness may be sdmiwhat mitigated by

adding the low Eb side key. It is best used in very quick
passages where timbre and tuning are not cr;t:cal.
suggested uses:
Benjamin. Le Tombeau de Ram;, 9 measures aner
number 1
Milhaud, Sonatine. mvt. 3,5 measures before number 17

5. This is the standard trill from :

'B
Suggested uses:
Sfravinsky, Three Pieces, mvt. 3. ms. 4
6. This fingering is well in tune and flute-like in quality. IIis
most useful in son passages.

Suggested uses:
Lkbussy, Premiere Rhapsodie, 2 measures before
number 6
7. This fingering is similar to CX' No. 4. it is a bit brighter
and bener in tune, yet it is not as facile in rapid
passages.
8. This fingering is best used as a soMt,#llfrom
covered fingering for 6' is used.

when me

to. This.is verv similar to d No. 9. in tonal

and
.~~~.
- resnonm
characteretics, but is not as secure al son dynamics. It is
faullless in rapid passages from the upper clarion and is
especially good in combination with E No 14
Suggested uses:
Weber. Ouintef, mvt. 4. 16 measures before lener K
11. This fingering is flute-like in tone quality and very
responsive in slurs and soft anacks.
Suggested uses:
d in the slow mvts. of the Mozart Concern and Mozan

$?:

closing phrases of the Brahms Quintet, mvt. 2

12. This combination has tonal and respanse characteristics

similar to
Na. 11, but is a bit more awbard.

13. This is a very dark fingering and low in pitch. lis

advantage is that it is responsive even at the sofiest
dynamic levels.
14. This fingering is similar to

d No. 3, but is a bit darker

and somewhat lower in pitch.

10. This note is bright and sharp, but is a brilliant trill from
CIb3to b3.
11. This one is very full in timbre, well in tune, and is
responsive in most situations. n is most useful in slursto
and from the upper clarion.
12. This note is very IIoII
and dark in pitch and although it i s
a bit awkward, it is flawless in anacks as well as slurrtng
t has no peer in r i d e slurs and legato passages.

--==--~-- ---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

13 Tnis fingering is bright and responsive in quick slurs, but

it .s too freeblowing for sec~rltyin soit anaclcs.

14. In this instance the pitch is achieved by overblowing

throat Ab. Iis thin, bright, and slippery in pitch, but i s
very useful in rapid passages.
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
15. This fingering is similar to D Y No.
~ 7 in both response
and usage.

lo. Bright, but quick in response, this fingering may be

darkened by the addition of the low For E key.
71. This note is ereellent In tuning and response at all

dynamic levels.
Suggested uses:
Prokotiev. Sonata, mvi. 1, ms. 1
12. This fingering is similar to E' No. 3

13. This combination is similar to E~No. 4, but is darker and

benet for playing soft, sustained tones. k is not as stable
in pitch.
14. This is similar lo E~No. 10, but is a litfle lower in pitch.

The low Ab whisper key may be added in some

instances.
Suggested uses
Suavinrhy. LHismire du Soldat, Musigue de la Premiere
Scene. 1 measure before number 13 (Usewrih d # 10)
15. This fingering is faultless in soft attacks and is beautifully
in tune. ll provides too much resistance to use effectively
at louder dynamic levels, but slurs well. Its awkwardness
limits ih use to slow passages and there is always the
danger of bumping the side key below it. The more
daring may find it more secure to depress the side key
with the right thumb while resting the clarinet on the
knees.
Suggested uses:
Prokofiev, Sonata, mvi. 1, ms. 1

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10. This pitch is very flat and its awkwardness limits its
usefulnew.
1 1 Excellent tun~ng,good response, and bright coloration

are the main features of thislingering. The side keys may

be omitted maklng thls a viable trlll trom A'.
12. This fingering is flat, but full. k requires considerable
voicing to play well in tune.

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.

15. This note is very flat and its response is sluggish.

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 &
Hawkes

Muczynski, Time Pieces for Clarinet and Piano,

Theodore Presser

Bartok, Contrasts for Violin, Clarinet, and Piano,

Boosey & Hawkes

Nielsen. Concerto, op. 57, Kistner

Pierne, Canzonena, op. 19, Leduc

Benjamin, Le Tombeau de Ravel, Boosey & Hawkes

Berg, Vier Stucke fur Klarinene and Klavier, op. 5.
Universal

Piston, Concerto for Clarinet and Orchestra

(reduction for clarinet and piano by the
composer), Associated Music Publishers, Inc.

Bernstein, Sonata for Clarinet and Piano, M. Witmark

& Sons

Poulenc, Sonata for Clarinet and Piano, J.&W.

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

Brahms, Sonata # I in f minor, op. 120, No. 1, C.F.
Peters
Brahms, Sonata #2 in Eb Major, op. 120, No. 2, C.F.
Peters
Castelnuovo-Tedesco, Sonata, op. 128, Ricordi
Cooke, Three Songs of Innocence, Oxford Press
Copland. Conceno for Clarinet and String Orchestra.
Bwsey & Hawkes

Prokofiev, Sonata, op. 94 (transcribed and edited

for Bb Clarinet and Piano by Kent Kennan),
Ludwig Music Publishing Co.
Reger, Quintet, op. 146, C.F. Peters
Rozsa, Sonatina for Clarinet Solo, op. 27,
Rongwen Music
Saint-Saens. Sonatepour Clarinene et Piano, op.
167, Editions Durand & Cie.
Schubert. Der Hirt auf dem Felsen, op. 129, G.
Schirmer

Debussy, PremiGre Rhapsodic, Durand & Cie.

Finzi, Five Bagatelles, Boosey & Hawkes

Schumann. Phantasiestucke for

Clarinet) and Piano, G. Schirmer

Violin (or

Franpaix, Conceno pour clarinene et orchestre,

Editions Musicales Transatlantiques

Schumann, Three Romances, op. 94, G.

Schirmer

Hindemith, Sonata for Clarinet and Piano, Schott

Stravinsky, Firebird Suite

Messiaen. Quatuorpourla Fin du Temps, F.T. Durand

Stravinsky, L'Histoire d o Soldat

Milhaud, Sonatinepour Clarinene et Piano, Durand &

Cie.

Stravinsky, Three Pieces, J.& W. Chester

Mozart, Concefto in A Major, K. 622

von Weber, Concerto # I , op. 73, Breitkopf und

Hartel

Mozart, Kegelstan Trio, K 498, International

von Weber, Quintet. op. 34, Lienau