MoBa Alternate

Fingerings for
Throat Tones
By Ricardo Morales
Introduction How to Use This Booklet
The purpose of this booklet is to maintain our collective curiosity The highlighted tone holes are those that need to be covered.
about the myriad of possibilities to be expressive with the clarinet. Please keep in mind that, at times, alternate fingerings will call for
There have been many books on fingerings printed in the past. semi-closed tone holes. The highlighted keys are the ones that
Hopefully, there will be many more in the future. However, need to be actuated.
if you are able to find even one fingering useful, the mission
It is very important to understand that, while having alternate
of this booklet will be accomplished. More than anything, I
fingerings is useful, they are only as useful as ones level of
would like to encourage you to use your imagination to further
musicianship and sensitivity. This is a guide to encourage critical
expand on the information given. There are several pages in the
musical thinking and, as such, it should remind us to think of the
back of this booklet with blank fingering diagrams for you to
clarinet as a tool of expression.
discover your own alternate fingerings, or to share with your
colleagues. It should also be noted that some fingerings may Good luck,
vary in effectiveness, depending on the brand of instrument and
mouthpiece played, and ultimately, the ability and sensitivity of
you, the artist.
Ricardo Morales

Principal Clarinet, The Philadelphia Orchestra

Co-Developer, MoBa Clarinets and Accessories by Backun
Clarinet Faculty, The Curtis Institute of Music
Clarinet Faculty, Temple University

2
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.

3
Fingerings for Open G
1. A warm and clear fingering that helps lower the intonation,
while adding a little resistance helpful in register changes.
Example: Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt. m10

Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt.

mm2324, Solo m36

Debussy, Premire Rhapsodie m2, m14

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.
Example: Schubert, The Shepherd on the Rock, D. 965

Weber, Variations, Op. 33 m13

Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt.

m23, m35

3. Similar to Fingering 2, but easier transitioning to the upper

register.

Open G 4
 1 11 11 2 2 2 21a 1 2a2a2a2a2 1a 3 3 3 3 3 2 3

Open G 5
Fingerings for Throat A
1. A warm, solid fingering that can be the standard fingering, as
it blends well, and works well the with A and B. This fingering
also slurs well to the upper clarion and matches, in color, with
long B and C.
Example: Debussy, Premire Rhapsodie m5
Bartok, The Miraculous Mandarin m14
(through the rest of the solo)
3. The clearest, most powerful and versatile fingering for A.
Example: Nielsen, Concerto for Clarinet and Orchestra, Op. 57 [D.F.129]
First Solo
Shostakovich, Symphony No. 1 in F Minor, Op. 10:
1. First Mvt. First 3 measures after Rehearsal 1
2. Second Mvt. Five measures after Rehearsal 1

1a. For the excerpt below, use this alternate fingering.

Example: Brahms, Symphony No. 3 in F Major, Op. 90, First Mvt. m36
(if performed on B Clarinet)

2. A duller fingering that can be used to ease the transition to

the upper register.

Throat A 6
 1111 1 1a1a1a1a1a 1 2 2 2 2 2 1a 3 3 3 3 3 2 3

Throat A 7
Fingerings for Throat A
1. A very warm and useful fingering, and one that works
especially well on the neighboring half-steps A/B to create
evenness and smoothness. This fingering transitions well to
the upper register.
Examples: Debussy, Petite Pice m1
Debussy, Premire Rhapsodie m12
Beethoven, Symphony No. 6 in F Major, Op. 68, First Mvt.
Solo Before G, mm291297 and Solo After K, m477, mm480481
1a. Similar to above with a slightly different resonance.
2. Dark and focused, this fingering also tends to have more
glow and works well slurring to C and B. It tends to be a little
sharper than Fingering 1.
Example: Weber, Concertino in E Major, Op. 26 Introduction
2a. Similar to above with a slightly different resonance.
Throat A
3. A very resonant, dark and clear fingering. While it may be a bit
awkward, with practice it can become one of the standards.
It slurs well to the upper register and is extremely stable for
intonation and is flexible in color.
Example: Finzi, Five Bagatelles: II. Romance m1
Brahms, Clarinet Sonata No. 2, Op. 120, No. 2 m1
Weber, Clarinet Concerto No. 1 in F Minor, Op. 73,
Second Mvt. m1
Puccini, Tosca, E Lucevan le stelle Solo
3a. Similar to above with a slightly different resonance.
Example: Brahms, Symphony No. 3 in F Major, Op. 90, Second Mvt. m1
Berlioz, Symphonie Fantastique, Op. 14, Third Mvt.
Five measures after Rehearsal 43
8
 1 1 1 11 1 1a1a1a 1a1a1a 2 2 2 22 2 2a2a2a 2a2a2a 3 3 3 33 3 3a3a3a 3a3a3a

Throat A 9
Fingerings for Throat A
3b. Less resonant, but a lovely, dark sound at softer dynamics.
Recommended for delicate passages.
Example: Finzi, Five Bagatelles: II. Romance

4. Not as resonant as Fingering 3, but it will still stabilize the

pitch and is useful when a passage requires resonance.
Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Fifth Mvt.
Solo, mm34

5. Similar in both color and resonance to Fingering 3, but may be

easier to access in different passages.
Example: Beethoven, Symphony No. 6 in F Major, Op. 68, Third Mvt.
mm124125

Shostakovich, Symphony No. 1 in F Minor, Op. 10, First Mvt.

Second Measure after Rehearsal 1

Throat A (cont.) 10
 3b3b3b3b 4 4 4 43b 5 5 5 5 4 3b 5 4 5

Throat A (cont.) 11
Fingerings for Throat B
1. Good standard fingering. Works well when playing
neighboring A or A.
Example: Debussy, Premire Rhapsodie m5
2. Perhaps the best overall fingering for Open B. This fingering
is resonant, clear and keeps the intonation lower and more
stable.
Example: Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt.
Beginning Solo, m5
Puccini, Tosca, E lucevan le stelle Solo
3. This fingering is especially warm. It tends to be sharper than
Fingerings 2 or 4, but blends well, especially in passages that
have the throat A.
Throat B
4. Clear and resonant. Slurs well to the upper register. It also
works with the side trill key B.
Example: Shostakovich, Symphony No. 9 in E Major, Op. 70, Second Mvt.
Solo m8, m10
Sibelius, Symphony No. 1 in E Minor, Op. 39, First Mvt. Solo m12
Weber, Clarinet Concerto No. 1 in F Minor, Op. 73,
First Mvt. m86
4a. Not as resonant as Fingering 4, but works well in intimate
passages.
Example: Brahms, Clarinet Sonata No. 1, Op. 120,
No. 1, Third Mvt. Beginning
12
 1 1 1 2 1 2 1 2 3 2 3 2 3 4 3 4 3 4 4a 4 4a 44a 4a 4a

Throat B 13
Additional Fingerings

Additional Fingerings 14
Additional Fingerings

Additional Fingerings 15
Additional Fingerings

Additional Fingerings 16

Ricardo Morales
Ricardo Morales is one of the most sought
after clarinetists of today. He joined The
Philadelphia Orchestra as principal clarinet
in 2003, having held the same position
with the Metropolitan Opera Orchestra
since the age of 21, under the direction of
James Levine.His virtuosity and artistry as
a soloist, chamber and orchestral musician
have been hailed and recognized in concert
halls around the world. He has been asked to
perform as principal clarinetist with the New
York Philharmonic, the Chicago Symphony
Orchestra and at the invitation of Sir Simon
Rattle, as principal clarinet with the Berlin
Philharmonic. He also performs as principal
clarinetist with the Saito Kinen Festival
Orchestra and the Mito Chamber Orchestra,
at the invitation of Maestro Seiji Ozawa.
A native of San Juan, Puerto Rico, Morales
began his studies at the Escuela Libre de
Musica, along with his five siblings, who are
all distinguished musicians. He continued
his studies at the Cincinnati Conservatory
of Music and Indiana University, where he
received an Artist Diploma.
He has been a featured soloist with many
orchestras, including: the Metropolitan
Opera Orchestra, the Chicago Symphony,
the Cincinnati Symphony, the Indianapolis
Symphony, the Seoul Philharmonic and the
Flemish Radio Symphony. During his tenure
with the Metropolitan Opera Orchestra,
Mr. Morales soloed under the baton of
James Levine in Carnegie Hall and on two
European tours. He made his solo debut
with The Philadelphia Orchestra in 2004
with Charles Dutoit and has since performed
as soloist on numerous occasions.
An active chamber musician, Mr. Morales
has performed in the MET Chamber
Ensemble series at Carnegies Weill Recital
Hall with James Levine at the piano, at
the Santa Fe Chamber Music Festival, the
Philadelphia Chamber Music Society, the
Seattle Chamber Music Summer Festival,
the Saratoga Chamber Music Festival,
on NBCsThe Today Show, and with the
Chamber Music Society of Lincoln Center.
He has performed with many distinguished
ensembles such as: The Juilliard Quartet,
the Pacifica Quartet, the Mir Quartet, the
Leipzig Quartet and The Kalichstein-Laredo-
Robinson Trio. He has also collaborated
with: Christoph Eschenbach, Andr Watts,
Emmanuel Ax, Jean-Yves Thibaudet, James
Ehnes, Gil Shaham and Kathleen Battle. Mr.
Morales is highly sought after for his recitals
and master classes, which have taken him
throughout North America, Europe and
Asia. In addition, he currently serves on the
faculties of Temple University and the Curtis
Institute of Music.
His performances have been met with
critical acclaim. The Philadelphia Inquirer
hailed his appointment to The Philadelphia
Orchestra, stating that in fact, may
represent the most salutary personnel event
of the orchestras last decade.He was also
praised by TheNew York Timesas having
... fleet technique, utterly natural musical
grace, and the lyricism and breath control
of a fine opera singer, Mr. Morales was also
singled out in TheNew York Timesreview
of the Metropolitan Operas production of
BerliozsLes Troyens, describing his playing
as exquisite and declared that he deserved
a place onstage during curtain calls.
His debut solo recording,French Portraits,
is available on the Boston Records
label.Morales recent recordings include
performances with The Kalichstein-Laredo-
Robinson Trio and also with the Pacifica
Quartet, which was nominated for a Latin
Grammy Award.In 2004, Mr. Morales joined
forces with internationally recognized
musical instrument designer, Morrie Backun,
to develop MoBa, a line of professional
clarinets and clarinet accessories by Backun
Musical Services.
17
 MoBa Clarinets
I have always believed that artists should
never make compromises in their technique,
their equipment and, most importantly, in their
music making.
Ricardo Morales

Co-Designed by Morrie Backun and Ricardo Morales, and handcrafted at

Backun Musical, MoBa Clarinets give artists an exceptional tool to achieve
the unachievable. Unique features include: a proprietary posting system
with precision keywork for true touch sensitivity, carbon fiber and titanium
tenons for uncompromising fit and an automatic Low F Vent for unrivalled
tuning.

Models: MoBa Bb and A Clarinet - Woods: Ethically and Sustainably

Harvested Grenadilla or Cocobolo - Keywork: Silver or Gold - Accessories:
Two MoBa Barrels and One MoBa Bell

Visit the Backun Musical website, or contact your local dealer, to learn more
about MoBa Clarinets.
MoBa Bb Grenadilla Silver, MoBa A Cocobolo Gold, MoBa Bb Grenadilla Rose Gold

18
MoBa Barrels
Barrels as Unique as the Artists
Who Play Them
MoBa Barrels produce a full-bodied resonant
sound that is flexible throughout the clarinets
tonal spectrum. Ease of articulation in the upper
range and exceptional sound quality are just a few
characteristics of this collaboration between Morrie
Backun and Ricardo Morales.

Models: Adaptable for both B and A Clarinets -

Woods: Ethically and Sustainably Harvested Grenadilla
or Cocobolo - Available in various lengths for: Buffet,
Leblanc, Yamaha, Selmer Paris and Other Clarinets
Visit the Backun Musical website, or contact your
local dealer, to learn more about MoBa Barrels.

19
MoBa Bells
A Force to be Reckoned With
Big halls are no match for the MoBa Bell. Designed by Morrie Backun and Ricardo Morales, this Bell is
a powerhouse that is well suited to large orchestral and solo stages. With a taper unique to the MoBa
product line, and a thick pronounced bell curve, the MoBa Bell offers players exceptional versatility
and projection.

Models: Adaptable for both B and A Clarinets - Woods: Ethically and Sustainably Harvested
Grenadilla or Cocobolo - Fits: Buffet, Leblanc, Yamaha,
Selmer Paris and Other Clarinets

Visit the Backun Musical website, or contact your local

dealer, to learn more about MoBa Bells.

20
MoBa Mouthpieces
True Harmony in Craftsmanship
MoBa B Mouthpieces need no introduction; after all, theyre played
on major concert stages around the world. With eleven models in
our line-up, finding your ultimate mouthpiece is closer... or wider...
than you think.

Pint Sized Perfection - Delicate when needed - powerful on

command, MoBa E Mouthpieces are yet another tool in your
performing arsenal. The two models represent a wide range of
playing styles from chamber and solo, to wind ensemble and
orchestral work.

A New Low - MoBa Bass Mouthpieces are the first, and last, word
in bass playing. Your closest ally on stage, or in the pit, these
mouthpieces offer immediate response and true warmth of sound.
With two models to choose from, no repertoire is out of reach.

For a detailed list of MoBa Mouthpiece models, as well as a sizing

and comparison chart, visit the Backun Musical website, or contact
your local dealer.

21
 Visit the Backun Musical Website
for More Clarinet Resources:
info@backunmusical.com MoBa Alternate Fingerings for the Upper Register
www.backunmusical.com MoBa Alternate Fingerings for the Altissimo Range

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Credits: Ricardo Morales, Content; Joel Jaffe, Concept & Production; Warren Neily, Design; Nathan Garfinkel, Photography