Clarinet Pinky Fingering Precautions for Band Directors
Who
This issue affects band directors guiding young clarinetists in school bands, from middle school to high school. Clarinet students, particularly beginners, need instruction on pinky fingerings to avoid technical errors and ensure fluid playing in ensemble settings.
What
The challenge is preventing same-pinky repetition in rapid transitions between low E, F, F#, G# and high B, C, C#, D#, which rely on pinky keys. Consecutive use of the same pinky slows execution, and the right-pinky-only G# and D# require strategic planning to maintain fluency.
Why
Using the same pinky consecutively, like right pinky for F to G#, creates a “pinky stutter,” slowing transitions due to the physical limitation of repositioning the same finger, as noted in The Clarinet Manual. Default fingerings—B/E (left pinky), F/C (right pinky), F#/C# (left pinky)—may conflict with right-pinky-only G# or D#, and surrounding notes can necessitate altering defaults, complicating passages in keys like concert E, A, or D.
Where
Pinky fingerings are applied via:
- Pinky Keys: Left or right pinky keys for E/B, F/C, F#/C#; right pinky only for G#/D# on a standard Boehm clarinet.
- Embouchure and Air Support: Adjusting to maintain intonation when switching pinky fingerings.
When
Address same-pinky issues in:
- Ensemble Settings: In band repertoire requiring precise intonation and fluid execution for blend.
- Rapid Transitions: In passages like F-to-G# or C-to-D#, common in Holst’s First Suite in Eb, where consecutive pinky use hinders speed.
- Concert E, A, D Keys: In scales or arpeggios (clarinet F#, B, E major), where pinky-heavy notes (F#, C#, B, D#) are frequent.
- Chromatic Passages: In runs involving E, F, F#, G#, needing alternation to avoid stutters.
<– [Click on picture to enlarge.]
How
To prevent same-pinky repetition:
- Teach Default Fingerings: Introduce B/E as left pinky, F/C as right pinky, F#/C# as left pinky, emphasizing flexibility based on context.
- Adjust for Context: Switch defaults for transitions like B-to-C# (use right pinky for C#) or F-to-G# (use left pinky for F), as shown in Klose’s Method for Clarinet.
- Plan for G# and D#: Choose left pinky for F# or C# before right-pinky-only G# or D# to avoid consecutive right-pinky use.
- Analyze Repertoire: Mark pinky alternations in parts for pieces like Sousa marches, e.g., left pinky for C, right pinky for D#.
- Practice Scales and Arpeggios: Use exercises in concert E, A, and D keys, alternating pinkies (e.g., F# left, B right) and adjusting arpeggios (e.g., switch mid-note for E-to-G#).
- Check Intonation: Use a tuner to ensure alternate fingerings maintain pitch accuracy (A=440 Hz), adjusting embouchure as needed.
- Reinforce Technique: Practice chromatic runs or etudes to build pinky dexterity, ensuring smooth transitions and minimal tension.
<– [Click to enlarge.]
Conclusion
By teaching clarinet students to alternate pinky keys for low E, F, F#, and high B, C, C#, while accounting for right-pinky-only G# and D#, and adjusting defaults based on context, directors can eliminate same-pinky repetition. This approach, vital in concert E, A, and D keys, ensures fluid execution and stable intonation. Through targeted practice and repertoire analysis, directors empower young clarinetists to excel in challenging band settings.