Using the Bb Trill Fingering on Clarinet for Better Tone

Who

This technique benefits clarinetists, from middle school beginners to advanced players, performing in band, orchestral, or solo settings, and band directors guiding them. The Bb trill fingering is especially useful for students seeking improved tone and intonation.

What

The challenge is achieving a clear, resonant middle Bb (concert Ab) with stable intonation, as the standard Bb fingering often sounds thin or sharp. The Bb trill fingering, using a side key, produces a superior tone and better pitch, enhancing performance quality.

Why

The standard Bb fingering in the throat register often yields a thin, sharp tone due to the clarinet’s acoustic design, as noted in The Clarinet Manual. The Bb trill fingering, credited to my friend, Band Director and composer Scott Kroll, optimizes the air column, delivering a fuller, more resonant sound and better alignment with A=440 Hz, improving ensemble blend.

Where

The Bb trill fingering is applied via:

• Side Key: Right-hand index finger on the top side key (or Bb trill key, depending on the clarinet model), typically with left-hand fingers in place for throat notes.
• Embouchure: Slight adjustments to maintain tone clarity and pitch stability.

When

Use the Bb trill fingering in:

• Lyrical Passages: In solos or melodies, like in Mozart’s Clarinet Concerto, where a warm, resonant Bb enhances expression.
• Flat-Key Repertoire: In Bb major (Bb as tonic), Eb major (Bb as dominant), or F major (Bb as subdominant), where Bb is frequent.
• Trills Involving Bb: In trills like A-to-Bb or Bb-to-C, ensuring smooth transitions and clear tone.
• Ensemble Tuning: In rehearsals requiring precise intonation for blend with other instruments.

How

To master the Bb trill fingering:

1. Compare Fingerings: Practice middle Bb with standard and trill fingerings, using a tuner to confirm the trill fingering’s fuller tone and accurate pitch (A=440 Hz).
2. Incorporate in Scales: Play Bb, Eb, and F major scales using the Bb trill fingering to build muscle memory, as shown in Klose’s Method for Clarinet.
3. Practice Trills: Focus on A-to-Bb or Bb-to-C trills with the top side key, ensuring smooth transitions and consistent tone.
4. Annotate Repertoire: Mark the Bb trill fingering in parts for pieces like Holst’s First Suite in Eb to prioritize tone in lyrical or technical passages.
5. Monitor Tone Quality: Listen for a resonant, warm Bb, adjusting embouchure to avoid sharpness in the throat register.
6. Teach Side Key Technique: Instruct students to press the top side key with the base of the right-hand index finger (where it meets the hand) for ergonomic efficiency, avoiding tension.
7. Reinforce in Ensemble: Check Bb pitch in rehearsals, ensuring the trill fingering blends with woodwinds or brass, adjusting for room acoustics.

Conclusion

The Bb trill fingering on clarinet, using the top side key, offers a fuller, more resonant tone and better intonation than the standard fingering, enhancing lyrical passages and flat-key repertoire. Thanks to a tip from my friend Scott Kroll, this technique transforms performance quality. By practicing with tuners, scales, and trills, annotating parts, and using proper side key technique, directors and clarinetists can achieve a polished sound, elevating ensemble performance in demanding repertoire.