In my experience, one of the most overlooked aspects of clarinet fundamentals among students is the resonance fingering. I get it: resonant fingering doesn't seem as important as articulation, scales, posture, high register, or other more obvious clarinet skills, but mastering resonant fingering allows you to maintain a smooth, symmetrical sound throughout the clarinet's range. . The sound of your clarinet is your musical voice, so it's important to develop all the necessary fundamentals to produce a beautiful sound.
Let's start from the beginning.
What are resonance grips?Resonant fingerings (also known as hidden fingerings, shadow fingerings, right hand down/RHD, and other names given by students and teachers alike) are simply altered fingerings to improve the quality of throat tones on the clarinet. These fingerings lend resonance (hence the name) to the naturally nasal, snappy quality of throat tones.
What are throat tones?If the clarinet were a person (which luckily it isn't!), throat tones are the tones around the "throat" of the instrument. The mouthpiece is the head, the bell is the feet, and the neck notes are open from G to the midline Bb, although some clarinetists use the lower room F and F# as neck notes.
Why do we need resonance grips?Contrary to popular belief, the clarinet is not a perfect instrument. The design and acoustic properties of the clarinet mean that some notes are naturally out of tune or stand out. Throat tones are the most noticeable. When you blow air into a clarinet through the mouthpiece, it uses the length of the tube (also known as the clarinet) to build and develop a note before escaping out the first available tone hole. This means that "long" notes, where more fingers cover the pitch gaps, will sound richer and deeper than notes that do not have as many pitch gaps covered.For example, Middle B usually has a full sound because all the fingers cover the timpani holes, so air has to flow from the mouthpiece and escape through the bell. This creates a beautiful sound because the air has time and distance to develop into a more robust sound. Conversely, when you play a throat note, the length of the tube is so short that the resulting sound is weak, brittle, and anemic compared to other tones on the instrument. To restore tonal balance, clarinetists must use resonance fingerings.
vitamins tThink of the resonant fingerings like a multivitamin for your sound. Resonant fingerings enhance many aspects of the clarinet beginning with the letter T:
- Timbre
- you
- Tomás
- Technology
What is the difference between timbre, pitch and pitch?
- TomásIt is your musical voice. Just as all humans have inherently different voices, musicians have their own tone of "voice". Many factors affect your voice (smoking, pollution, talking too much), and musical tone can also be affected by other factors (equipment, focus, posture, etc.).
- youit is the adjustment of musical pitches to a reference, be it other musicians or a tuner. You can read my complete guide to tuning clarinetson here.
- Timbreis the sound quality. We can use resonance fingerings to ensure that the timbre is consistent from the lowest to the highest note on the clarinet.
The effect of the Christmas tree:The natural tonal qualities of a clarinet mimic a Christmas tree: wider at the bottom and thinner at the top. Notes in the chalumeau (low) register are inherently warm but generally spread out, while altissimo (upper) notes are narrower and not as resonant. Deep tones form the broad base of the aural Christmas tree, and precise highs form the star at the top. The clarinet's timbre should not sound like a Christmas tree (although similar to the Grinch's); instead, the timbre should be the same "width" from top to bottom. Clarinetists should avoid the Christmas tree effect and instead focus on producing a sound that is equal in warmth and resonance from the lowest to highest note on the instrument. To create timbre symmetry on the clarinet, you need to incorporate resonant fingers.
Save the Christmas tree for your choices, not your sound!
How to find the perfect resonance fingerings.Perhaps one of the main reasons music educators often don't teach resonant fingerings is that they are different for every clarinettist and setting. To make matters worse, resonant fingerings often change based on a number of factors, including pitch (and the many variables that can affect pitch), reeds, and other external conditions. Depending on the musical and technical requirements, there are different types of resonance fingerings:
- bottom right (right)–This is a unique approach to resonance fingerings and is great if you're new to the concept. Start by holding your right hand over the throat notes (open G to Bb), especially as you cross over the rest (going from a throat note to a middle Bb or higher). This is not only useful for crossing the break, but also trains beginners to get used to using the basic resonance grips.
- Advantages: clean technology for fast scalar passages; makes it easier to cross the gap
- Cons: Not ideal for exposed or sustained neck tones that require custom resonance fingerings; G open can be flat
- Resonance Grips Prepared– These fingerings “prepare” you to cross the rest by plugging the pitch holes of the next note. For example, if you are going from a B flat throat tone to a higher E space, play B flat major and also cover the first and second tone holes on the right. This fingering prepares you for the cross break and makes clean technique easier as you reduce the number of fingers you move between notes. This will reduce the chance of frostbite on your fingers.
- Pros: Great for creating a seamless connection between larger areas
- Cons: Not ideal for exposed or sustained neck tones that require custom resonance fingerings
- Custom resonant fingers- Grab your pencil and paper and get ready to have some fun with your tuner! Start playing normal neck tone with no extra keys or tone holes. Pay attention to tone and timbre. Try different grip combinations with your right hand (don't be afraid to use the small keys too!). You can also use the ring finger of your left hand for additional coverage if needed. To lower the pitch, use more fingers. Use fewer fingers to raise the pitch. There are four throat keys (G, G#/Ap, A, Ap/Bb), so take the time to research the best resonant fingerings for you and your setup. Don't forget to write down your fingerings so you don't forget them later!
- Pros: Improved timbre, pitch, and pitch; ideal for long, sustained or exposed throat tones
- Cons: Heavy custom fingerings can be difficult for faster technical passages
Additional resonance techniques:
- F and F sharp– Some people put these notes in clarinet throats. To improve the quality of the F, don't add too many keys. When sharp in F, I like to add the middle of the third tone hole in my left hand to bring the pitch down. For F# you can use alternate fingerings (thumb + two lower side keys).
- half hole– As the name suggests, half a hole covers half a tone hole. This is a great technique for crossing the top breakout (which I'll discuss in a future article), but it can also be used to further customize resonant holds.
- floating– Fly over, don't take cover! Instead of covering the tone hole with your finger, move your fingers closer to the keyboard to lower the pitch. This is another way to further customize your resonance fingerings and refine your tuning.
Factors Affecting Resonance Grips:Congratulations, now that you have carefully identified the best custom throat sounds for your setup, you now need to make adjustments to the external variables, including:
- you
- more fingers = lower tone
- fewer fingers = higher pitch
- dynamic–
- high dynamics = fewer fingers (so you don't go flat)
- smooth dynamics = more fingers (so it doesn't get sharper)
- different team– Check the inclination of all new devices. The American tuning standard is A=440, so know your gear and adjust your resonant fingerings accordingly. Be prepared to adjust your resonant fingerings when using a new device.
When should I use resonance fingerings?Resonant fingerings should be used when playing a throat note. There are very few exceptions to this rule, so make sure that you and your students are always using the correct resonance fingerings.
Additional Information:
- There are no resonance handles!Depending on the musical context, it uses different resonance fingerings (even for the same note). There are no "open G resonance fingerings" - you have to have many different resonance fingerings for each throat tone to use depending on external and musical variables.
- Resonance grips are not one size fits all.What works for your friends and colleagues may not necessarily be the best solution for you and your setup.
- Use a tuner, but also use your ears.Tuners only provide information about one aspect of resonance fingerings: only your ears can determine timbre and pitch. Find the best compromise between the tuner and your ears.
- Consider the musical context.Use single resonance fingerings for fast technical passages. Clumsy resonant grips can affect technical agility. For long, sustained, or exposed notes, find the resonant fingering with the best sound quality. Let the music guide you to use the best resonant fingering for any musical situation.
- record yourselfIf you can't decide which resonant fingering sounds best, record a short passage or scale. Microphones never lie.
- Ask your teacher or band director for help.Two pairs of ears are always better than one! Ask for their suggestions and fingerings.
- Last resort: take your clarinet to a repair shop.If you've tried every resonance fingering imaginable and your throat tones are still problematic, take your clarinet to a qualified technician. Neck pitch tuning problems can sometimes be corrected by moving the keys up or down. Note that despite these adjustments, you still need to use resonance handles.
The search for resonant fingerings is a never-ending journey, and with a little diligence and patience, your arsenal of reliable resonant fingerings will continue to grow. I hope this guide helps you on your quest for a beautiful clarinet sound from top to bottom!