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Clarinet Alternate Finger Chart
One of the most important components of good music is the development of great finger technique. This essential skill depends on many factors, including correct hand position, correct finger movement, knowing alternate fingers, and the ability to make correct left and right alternate key decisions. The use of this alternative method is often a mystery to the student and the director. Band directors who are not clarinet majors may not have identified this information during their undergraduate studies and therefore may worry about teaching this important skill to their students.
Printable Clarinet Finger Chart In Pdf Format
Every method book should have a fingering chart with alternate fingers; however, the principal must have the necessary skills to teach students how, when, and why to use these alternatives. Therefore, these instructions would be incomplete without an explanation and implementation of the left and right pinky shift method. If the students lack the knowledge to use this alternative technique properly, the technique and the music will suffer catastrophically.
This musical “catastrophe” can happen when a piece changes the pinky finger. Often, students move to what are called “slips”. For example, when playing the third space from C to C#, students try to use only the right pinky finger or only the left pinky finger, resulting in poor technique. There are two acceptable solutions: use C# right key followed by C# left key; or vice versa, the left key of C and the right key of C#. Students should not use the same pinky finger consecutively.
It should be noted that in advanced clarinet literature there are cases where substitution is not always possible. However, for the beginning or intermediate clarinet student, learning the left-right-left or right-left-right alternation technique is essential to developing a smooth and accurate technique.
Principals and students should identify the name and location of each pink key. There are several reasons why identification and differentiation can be confusing tasks: all clarinet keys are silver and difficult for students to identify or remember. There are two possible ways to click most notes with the left and right pink keys, and only one way for others; and all pink keys produce notes written below the staff in the lower register, as well as notes written above the break in the clarion register. Technical charts can be used to identify the notes that each pinky key produces.
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The names of the notes written at the top of the line in each tab identify the pink keys for the notes in the rest of the light register. Note names written below the line in each tab identify the lower notes in the directory. Appropriate English spellings are included for practical purposes in the teaching of primary and middle school students. Each tab is color coded to identify the keys on either side of the clarinet that produce the same note or notes. There are two keys (pink and green) that are only on one side of the clarinet, resulting in a possible fingering solution instead of two. Advanced clarinets such as the Buffet Prestige have the two keys D#-EH/G#-AH (green scale); However, most elementary and middle school students likely have an elementary or middle model.
Below are examples of simple alternative exercises that can be done with beginning clarinet students. These exercises help increase awareness of notes that involve both left and right fingers, and can be introduced as soon as students can effectively cover holes with left and right fingers. Use the “sound before character” method. Present these exercises to students by identifying the names of the notes while pointing to the correct fingers. Once the students have learned to read the cursive notes, give them writing exercises and show them what they have played.
Advanced exercises with chromatic passages, harmonic spells or notes in the breaks should be introduced at appropriate teaching times.
Clarinet fingering charts found in a number of beginner and intermediate method books list three different fingering paths for the low E and F# as well as B and C# in the clarinet register. These notes can be played correctly with the left and right pink keys, only the left side, or only the right side.
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The right pinky can be placed in the right C/F key without affecting the production of the low E or third B space. The right peak can also be placed in the right key of C/F without affecting the low production of F# or the third space of C#. .
Students learn that they can place or position their fingers on the left or right pinky keys to produce the desired note. In some passages it is possible, although not mandatory, to press the left and right keys at the same time without changing the pitch or breaking the substitution rule. The task of the teacher or director is to control this situation by showing and explaining the function of each key, as well as the implementation of the replacement method.
Pieces found in advanced clarinet literature can replace an impossible task. When choosing a “slide”, it is useful to go from a higher key to a lower key. Obviously, moving from one note to another requires additional practice and repetition; but using the higher to lower method gives better results.
Professional model clarinets that include the additional key of D#-EH/G#-AH eliminate the need to “slide” when playing these pieces.
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Great finger technique is achieved through diligent training and individual practice. This is an important skill that directly affects the improvement or decline of the musical art. Since it is important for the establishment and development of specific foundations, the correct finger technique should be started in the early stages of training. Principles play an important role in this – learning these skills should be seen as an ongoing process. It must be precisely introduced, monitored and developed. In the course of the training, the solving of the mysteries of the “Pinky” replacement method begins when the students correctly identify all the left and right keys. After achieving this goal, students can focus on identifying passages that require an alternative plan, as well as applying this substitution method. In the world of teaching and improving beginner and intermediate clarinet technique, using the correct left and right “pinky” switching procedure helps to avoid technical and musical problems.
Years of teaching and is currently the Assistant Director of the Oak Grove Band Program where his primary teaching responsibilities include the instruction of 6 members.
Class clauses. Ensembles under his direction have consistently received the highest performance ratings. He is a past member of the Mississippi Bandmasters Association Executive Board as well as past president of the Gulf Coast Bandmasters Association. In 2003, Ms. Shuman was named Phi Beta Mu Mississippi Band Director and in 2012 was honored as Middle School Band Director of the Year for the Southeast Mississippi Principals Association. He holds a bachelor’s degree in music education from Delta State University and a master’s degree in music education from the University of Southern Mississippi. After hearing many students say that they don’t understand their clarinet finger chart, I decided to create the clearest and simplest one. use finger charts. Each finger has a large image of a clarinet with color coding for left and right hand.
There are tons of clarinet charts on the internet that are just replicas of the old “dot and dot” method that has confused students for years, but why waste your time trying to figure out how to memorize one. instead of music.
Performance: Clarinet Alternations
My finger charts are as clear and simple as possible. Each diagram is an interactive PDF. You can print the pages or view them with Adobe Reader on your computer. They can be widely expanded
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