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 clarinet. 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). 11111 11a2222 1a22a2a2a2a 233333 3 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 - Open G @backunmusical - 3 Fingerings for Throat A♭ 1. A warm, solid fingering that works well on A and B♭ clarinets 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) 11111 11a1a1a1a1a 1a22222 233333 3 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 - 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, Clarinet Sonata No. 2, Op. 120, No. 2 – m1 Solo Before G, mm291–297 Weber, Clarinet Concerto 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 11 1a1a111 1221a1a1a 1a2a2a222 2332a2a2a 33a3a333 3a3a3a 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 - 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 3b3b3b3b 3b4444 3b45555 45 5 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 - 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.