Backun Alternate Fingerings Volume 1, Throat Tones Introduction The purpose of this booklet is to maintain our collective curiosity about the myriad ways to be expressive with the . There 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 of these fingerings useful, the mission of this booklet will be accomplished. More than anything, we would like to encourage you to use your imagination to further expand on the information given. There are several pages in the back of this booklet with blank fingering diagrams for you to record 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, on the ability and sensitivity of you, the artist. How to Use This Booklet The 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. The 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 enables them to be. This 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. 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 is advisable to choose fingerings that can be used consistently.

CG Carbon™ The future and beyond

The world’s most technologically advanced clarinet, the CG Carbon features a body crafted from carbon fibre with an exotic wood core. Using a patent pending process, carbon fibre is fused to the precision machined core, resulting in a clarinet with the robust projection and unmatched intonation that Backun is known for. Years of material analysis and real-world testing have proven the fusion process can endure wide-ranging temperatures and humidity conditions without expansion or contraction of the clarinet body. Tonally, the playing characteristics stay true to that of a wooden clarinet with the new Backun Scale. This signature model, designed for Maestro Corrado Giuffredi, represents a giant leap into the future… and beyond.

Available in B♭ and A, unstained grenadilla or cocobolo body with gold or silver keywork.

Volume 1, Throat Tones - Introduction & CG Carbon Clarinet @backunmusical - 2 Fingerings for Open G

1. A warm and clear fingering that helps lower the intonation while Example: Schubert, Der Hirt auf dem Felsen, D. 965 adding a little resistance helpful in register changes. Weber, Variations, Op. 33 – m13 Example: Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt. – m10 Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. – Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. – m23, m35 mm23–24, Solo m36 3. Similar to Fingering 2, but easier transitioning to the upper Debussy, Première Rhapsodie – m2, m14 register. 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 (2a).

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Volume 1, Throat Tones - Open G @backunmusical - 3 Fingerings for Throat A♭

1. A warm, solid fingering that works well on A and B♭ 2. A duller fingering that can be used to ease the transition to the and can be considered the ”standard” fingering. This fingering upper register. blends and slurs well to the upper clarion, and also matches 3. The clearest, most powerful and versatile fingering for A♭. color-wise with the “Long” B and C. Example: Nielsen, Concerto for Clarinet and Orchestra, Op. 57 [D.F.129] – First Example: Debussy, Première Rhapsodie – m5 Solo Bartok, The Miraculous Mandarin – m14 Shostakovich, Symphony No. 1 in F Minor, Op. 10: (through the rest of the solo) First Mvt. – First three measures after Rehearsal 1 1a. For the excerpt below, use this alternate fingering. Second Mvt. – Five measures after Rehearsal 1 Example: Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. – m36 (if performed on B♭ Clarinet)

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Volume 1, Throat Tones - Throat A♭ @backunmusical - 4 Lumière™ The evolution of Backun

The Lumière takes the clarinet to a level of breathtaking clarity and focus from the highest altissimo down through the low register. Less is more, as the Lumière flaunts European flair with uncompromising intonation and fluidity. Completely redesigned from the bell up, and the first clarinet to feature the new Backun Scale, this custom clarinet is a perfect match for those who desire the highest quality playing experience in a more traditional French-style instrument.

Available in B♭ and A, unstained grenadilla or cocobolo body with gold or silver keywork, or silver keys with gold posts.

Volume 1, Throat Tones - Lumière Clarinet @backunmusical - 5 Fingerings for Throat A

1. A very warm and useful fingering, and one that works especially 2a. Similar to above with a slightly different resonance. well on the neighboring half-steps A /B to create evenness ♭ ♭ 3. A very resonant, dark, and clear fingering. While it may be a bit and smoothness. This fingering transitions well to the upper awkward, with practice it can become one of the standards. It register. slurs well to the upper register, is extremely stable for intonation Examples: Debussy, Petite Pièce – m1 and is flexible in color. Debussy, Première Rhapsodie – m12 Example: Finzi, Five Bagatelles: II. Romance – m1 Beethoven, Symphony No. 6 in F Major, Op. 68, First Mvt. – Brahms, No. 2, Op. 120, No. 2 – m1 Solo Before G, mm291–297 Weber, No. 1 in F Minor, Op. 73, Solo after K, m477, mm480–481 Second Mvt. – m1 1a. Similar to above with a slightly different resonance. Puccini, Tosca, E Lucevan le stelle – Solo 2. Dark and focused, this fingering also tends to have more glow 3a. Similar to above with a slightly different resonance. and works well slurring to C and B. It tends to be a little sharper Example: Brahms, Symphony No. 3 in F Major, Op. 90, Second Mvt. – m1 than Fingering 1. Berlioz, Symphonie Fantastique, Op. 14, Third Mvt. – Example: Weber, Concertino in E Major, Op. 26 – Introduction ♭ Five measures after Rehearsal 43

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Volume 1, Throat Tones - Throat A @backunmusical - 6 Fingerings for Throat A (cont.)

3b. Less resonant, but a lovely, dark sound at softer dynamics. 5. Similar in both color and resonance to Fingering 3, but may be Recommended for delicate passages. easier to access in different passages. Example: Finzi, Five Bagatelles: II. Romance Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Third Mvt. – mm124–125 4. Not as resonant as Fingering 3, but it will still stabilize the pitch and is useful when a passage requires resonance. Shostakovich, Symphony No. 1 in F Minor, Op. 10, First Mvt. – Second measure after Rehearsal 1 Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Fifth Mvt. – Solo, mm3–4

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Volume 1, Throat Tones - Throat A (cont.) @backunmusical - 7 Q Series™ Classic feel and playability

The Q Series clarinet offers those who prefer a more traditional French-style instrument the chance to experience the world of Backun. We combine modern manufacturing techniques and treatments, including a carbon fibre middle joint ring, with naturally unstained grenadilla wood and brilliant silver-plated keywork to produce an instrument with truly familiar feel and playability. An affordable masterpiece, the Q Series is the classic choice.

Available in B♭ and A, unstained grenadilla body, silver keywork.

Volume 1, Throat Tones - Q Series Clarinet @backunmusical - 8 Fingerings for Throat B♭

1. Good standard fingering. Works well when playing neighboring 4. Clear and resonant. Slurs well to the upper register. It also works A♭ or A. with the side trill key B♭. Example: Debussy, Première Rhapsodie – m5 Example: Shostakovich, Symphony No. 9 in E♭ Major, Op. 70, Second Mvt. Solo – m8, m10 2. Perhaps the best overall fingering for Open B♭. This fingering is resonant, clear and keeps the intonation lower and more stable. Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt. Solo – m12 Example: Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt. – Beginning Weber, Clarinet Concerto No. 1 in F Minor, Op. 73, Solo, m5 First Mvt. – m86 Puccini, Tosca, E lucevan le stelle – Solo 4a. Not as resonant as Fingering 4, but works well in intimate passages. 3. This fingering is especially warm. It tends to be sharper than Fingerings 2 or 4, but blends well, especially in passages that Example: Brahms, Clarinet Sonata No. 1, Op. 120, Third Mvt. have the throat A. – Beginning

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Volume 1, Throat Tones - Throat B♭ @backunmusical - 9 Alpha™ March to your own beat

The Alpha Clarinet is crafted from an ideal blend of synthetic materials for maximum resonance and durability. Designed to be the optimal indoor and outdoor student clarinet, it is at home in the classroom, on the concert stage, or on the marching field. Professionals and students alike count on the Alpha for performances where a wooden instrument might not be appropriate, thanks to its exceptionally light body, durable keywork and weather-resistant build that ensures years of lasting playability.

Available in B♭, proprietary synthetic body, silver or nickel keywork.

Volume 1, Throat Tones - Alpha Clarinet @backunmusical - 10 Backun Barrels & Bells

Lumière Barrel MoBa Barrel Fatboy Barrel E♭ Cutback Barrel

The Lumière Barrel offers a sweet, The MoBa Barrel produces an The Fatboy is at home in the world’s Backun E♭ Barrels feature a unique balanced tone with increased focus and unmistakable, full-bodied, dark sound most prestigious concert halls, famous cutback design that allows the use of projection that illuminates every corner that makes it a favourite amongst jazz clubs, and everywhere in between. B♭ clarinet reeds on an E♭ mouthpiece, of the concert hall. Elegant curves and orchestral players worldwide. With It’s our best-selling barrel, and for good without the need to trim them. Artists flowing design perfectly complement increased resistance and focus, and reason. Artists who are called upon love how this barrel improves intonation its sweet, refined character. Artists an unbelievable ease of articulation to interpret a wide variety of music and flexibility, while stabilizing the appreciate the incredible richness and throughout the entire range of the appreciate the Fatboy Barrel’s unique tone of the instrument throughout resonance of the Lumière Barrel for clarinet, this barrel is a great option for flexibility and versatility. Note: In Japan, all registers. Paired with the Backun chamber, solo, and orchestral playing. artists wanting a darker tone. Artists this model is known as the Backun E♭ Bell, this barrel really tames the prefer this barrel for orchestral repertoire. Barrel. savage beast

Available in grenadilla and cocobolo Available in grenadilla and cocobolo Available in grenadilla and cocobolo Available in grenadilla and cocobolo woods. Designed for both B♭ and woods. Designed for both B♭ and woods. Designed for both B♭ and woods. Designed to fit most E♭ clarinets. A clarinets. A clarinets. A clarinets.

Lumière Bell MoBa Bell E♭ Bell

The Lumière Bell features a unique Double Voicing Big halls are no match for the MoBa Bell, which is a Tuning the E♭ clarinet can be a major challenge, so we Groove (DVG) that improves intonation and stability in powerhouse well suited to orchestral and solo stages. designed a bell as fearless as most E♭ players. Adding the clarion register. A modestly sized bell set between With a taper unique to the MoBa product line, an yet another dimension of versatility to your impressive a carbon fibre tenon ring and a pronounced bell flair, integrated Voicing Groove, and a bold bell curve, the repertoire, the Backun E♭ Bell aligns the registers this wooden work of art is a musical sculpture that MoBa Bell offers players exceptional versatility and and delivers a warm tonal centre to your sound. The allows the clarinet to sing. projection. Backun Voicing Groove is standard on all E♭ Bells.

Available in grenadilla and cocobolo woods.Designed Available in grenadilla and cocobolo woods.Designed Available in grenadilla and cocobolo woods.Designed for both B♭ and A clarinets. for both B♭ and A clarinets. for both B♭ and A clarinets.

Volume 1, Throat Tones - Barrels & Bells @backunmusical - 11 Additional Fingerings BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN BACKUN

Volume 1, Throat Tones - Additional Fingerings @backunmusical - 12 Vocalise Mouthpieces By Hawkins and Backun

Richard Hawkins collaborated with Backun Musical Services to develop a series of mouthpieces with tonal ring and clarity that will change the course of mouthpiece history. Designed using advanced CAD/CAM software and tested with 3D printing technology, Vocalise Mouthpieces are crafted on highly advanced nine-axis CNC machines.

Each mouthpiece helps the player centre articulation, pitch and altissimo, with impeccable ease and consistency of voicing. It is the first mouthpiece of its kind specifically designed to play well on both synthetic and cane reeds, in strengths 2.5 to 4.5. Designed for all ages and experience levels, Vocalise B♭ Mouthpieces features a model for every player and occasion. Complex resonance at a reasonable price.

Vocalise Bb R, G, H and Z Vocalise Bb CG

R – Close/Short G – Medium/Medium H – Open/Long Z – Extremely Open/Long CG – Open/Long

Evenness and a focus of sound A medium faced mouthpiece The most open facing in the The Vocalise Z was developed Crafted from a proprietary clear that sings with ease are two that combines exceptional lineup, the H is both smooth to meet the needs of artists synthetic material, the Vocalise characteristics of this close evenness and round tonal and dark, with ample cushion who prefer mouthpieces with CG Mouthpiece is Open/Long, facing mouthpiece that allows complexity. The G has a for those who need more a larger facing, while offering while giving players a flexible to articulate with reduced effort, smoother influence on interval robust flexibility throughout significant volume and and vibrant tone. This model while ringing true with fabulous connections just where you the registers. This mouthpiece projection. With a robust tone, articulates with ease and holds clarity. need it. requires unyielding passion in it is reminiscent of more current a clear quality of sound at performance. European models. extreme volumes.

Volume 1, Throat Tones - Vocalise Mouthpieces @backunmusical - 13 Visit the Backun Musical Services Website for More Clarinet Resources

Alternate Fingerings for Upper Register, Volume 2 Alternate Fingerings for Altissimo Range, Volume 3

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