Opperman The New Extended Working Range for Clarinet Carl Fischer
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This comprehensive publication provides the clarinetist with every conceivable choice of fingering while presenting options that will give them the best intonation.
On August 8, 1943, I began assembling the many fingerings that I accumulated in five years of study with Ralph Maclean and have continued collecting them ever since. Recalling that memorable date was not difficult, since that was the day Mr. Maclean left New York City for his new position as principal clarinetist with Eugene Ormandy and the Philadelphia Orchestra. He also assumed the position of Professor of Clarinet at the Curtis Institute of Music. Many fingerings appropriate for one clarinet (good intonation coupled with good sound and resistance) may hardly work on another. Carefully check the following fingerings and choose those compatible with your instrument. Be aware that the fingerings you chose for your principal B? clarinet may or may not be acceptable for use on your A clarinet. Then again, you may have to choose a few other fingerings for your spare B? clarinet so that it also has the right resistance, intonation and color you desire. Often, you will find slight alterations in fingerings from clarinet to clarinet a necessity. That having been said, perhaps the best approach should travel along these lines: begin with the establishment of the basic chromatic-scale fingerings you plan to use and fill in from that point. Check the twelfths, octaves and fifths for resistance, intonation and timbre. Get set on your principal B? clarinet first, then move to the A clarinet and finish with your spare B? and on to the E? clarinet. All of the above may be mildly or severely affected by the mouthpiece, barrel, reed and clarinet used. By all means, work with your tuner as you select appropriate fingerings. The set of fingerings to be used for the basic chromatic scale are those found directly beneath the sta ff of each note from page s 5 through 32. Those are the fundamental fingerings for the ascending and descending forms of the chromatic scale and are compiled in the Addendum beginning on page 33.