Relevant bibliographies by topics / Clarinet Fingering

Academic literature on the topic 'Clarinet Fingering'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Clarinet Fingering"

1

Rice, Albert R. "Clarinet Fingering Charts." Galpin Society Journal 38 (April 1985): 144. http://dx.doi.org/10.2307/841291.

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Hoeprich, T. E. "Clarinet Fingering Charts." Galpin Society Journal 38 (April 1985): 145. http://dx.doi.org/10.2307/841292.

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3

Kulik, Yakov, Andrew Botros, and John Smith. "Automated fingering services for woodwinds: development of a "virtual clarinet"." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3662. http://dx.doi.org/10.1121/1.2934983.

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Franke, Lars. "Robert Schumann, Fantasy Pieces op. 73 for Piano and Clarinet, version for violoncello, edited by Ernst Herttrich, fingering of piano part by Hans-Martin Theopold, fingering and bowing of violoncello part by Reiner Ginzel (Munich: Henle, 2006)." Nineteenth-Century Music Review 4, no. 2 (November 2007): 192–95. http://dx.doi.org/10.1017/s1479409800001063.

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5

Nederveen, C. J., and J. P. Dalmont. "Mode locking effects on the playing frequency for fork fingerings on the clarinet." Journal of the Acoustical Society of America 131, no. 1 (January 2012): 689–97. http://dx.doi.org/10.1121/1.3653966.

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Dissertations / Theses on the topic "Clarinet Fingering"

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"Clarinet Multiphonics: A Catalog and Analysis of Their Production Strategies." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49106.

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abstract: Clarinet multiphonics have become increasingly popular among composers since they were first introduced in the 1950s. However, it is a topic poorly understood by both performers and composers, which sometimes leads to the use of acoustically impossible multiphonics in compositions. Producing multiphonics requires precise manipulations of embouchure force, air pressure, and tongue position. These three factors are invisible to the naked eye during clarinet performance, leading to many conflicting theories about multiphonic production strategies, often based on subjective perception of the performer. This study attempts to observe the latter factor—tongue motion—during multiphonic production in situ using ultrasound. Additionally, a multiphonic catalog containing 604 dyad multiphonics was compiled as part of this study. The author hypothesized that nearly all, if not all, of the multiphonics can be produced using one of four primary production strategies. The four production strategies are: (A) lowering the back of the tongue while sustaining the upper note; (B) raising the back of the tongue while sustaining the upper note; (C) changing the tongue position to that of the lower note while sustaining the upper note; and (D) raising the root of the tongue (a sensation similar to constricting the throat) while sustaining the upper note. To distill production strategies into four primary categories, the author documented his perceived tongue motion over twenty repetitions of playing every multiphonic in the catalog. These perceptions were then confirmed or corrected through ultrasound investigation sessions after every five repetitions. The production strategies detailed in this study are only for finding the correct voicing to produce the multiphonics. The catalog compiled during this study is organized using two different organizational systems: the first uses the traditional method of organizing by pitch; the second uses a fingering-based system to facilitate the ease of finding multiphonics in question, since notated pitches of multiphonics often differ between sources.
Dissertation/Thesis
Doctoral Dissertation Music 2018
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2

Min, Zi-Yao, and 閩子瑤. "The Altissimo Register Fingerings in Performance for Modern French Soprano Clarinet." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/cn5h7s.

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Abstract:
碩士
輔仁大學
音樂學系
104
The clarinet altissimo register fingerings is very complex and diverse. There are many possibilities of fingerings in the same high notes. If the player can use suitable fingerings, the practice will be more productive and the performance will be more easy and accessible for the performer. However, research in this aspect is poor and has no complete related literature in Taiwan. As a result, this study collects many literature and research from some related books and the network in other countries. It contains Boehm-system clarinet history, clarinet acoustic, close-pipe, tone-holes, harmonic series, altissimo register fingerings. After integrating the whole paper, this study will analyze partials and characteristics from each altissimo register fingerings. It will be structured complex fingerings into an easier way, and conduct an integrated research. Finally, the analysis results will be used practically in ten programs, including Eugene Bozza: Bucolique for Clarinet and Piano, Aaron Copland: Clarinet Concerto, Claude Debussy: Première Rhapsodie, Jean Françaix: Tema con Variazion, Scott McAllister: X, Francis Poulenc: Clarinet Sonata, Maurice Ravel : Daphnis et Chloé, Gioachino Rossini: Introduction, theme, and Variations for Clarinet, C.M.V. Weber: Clarinet Concerto No.2 in E flat major, Charles-Marie Widor: Introduction and Rondo. This study hopes to give the clarinetist more choice of fingerings, to provide an easier way for playing skills.
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Books on the topic "Clarinet Fingering"

1

Ridenour, Thomas. Clarinet fingerings: A comprehensive guide for the performer and educator. 6th ed. [Denton, Tex: s.n.], 2000.

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2

Richards, Edwin Michael. The clarinet of the twenty-first century. [United States: E + K Pub.], 1992.

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3

The new extended working range for clarinet: A comprehensive fingering guide from chalumeau low E to altissimo supérieur G. New York: C. Fischer, 2004.

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4

Opperman, Kalmen. The new extended working range for clarinet: A comprehensive fingering guide from chalumeau low E to altissimo supérieur G. New York: C. Fischer, 2007.

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5

Ridenour, Thomas. The annotated book of altissimo clarinet fingerings: An invaluable workbook and guide for the serious clarinetist. Orlando, Fla. (915 Charles St., Orlando 32808): Tom's Clarinet Service, 1986.

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6

Murphy, Brenda. Clarinet Fingering Chart. Music Sales Corporation, 1998.

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7

Mihaly, Ryan. B-Flat Clarinet Fingering Chart. New Michigan Press, 2022.

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8

Nelson, Eric. Mel Bay Clarinet Fingering & Scale Chart. Mel Bay Publications, Inc., 2006.

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9

Wehle, Reiner. Clarinet Fundamentals Volume 2: Systematic Fingering Course. Schott, 2005.

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10

Publishing, Too Smart. CLARINET FINGERING CHARTS: TOO SMART MUSIC CHARTS! KMP Publishing, 2003.

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Book chapters on the topic "Clarinet Fingering"

1

Rice, Albert R. "Playing Techniques of the Baroque Clarinet." In The Baroque Clarinet and Chalumeau, 112–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0004.

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This chapter discusses the earliest published sources on playing the two- and three-key clarinets written by Majer (1732), Eisel (1738), Berg (1782), and an anonymous writer (ca. 1810). The topics covered by these authors are compass, reed position, embouchure, articulation, hand position, fingerings, clefs, and makers’ stamps. Other authors cited who write about the clarinet are Walther (1732), Diderot and d’Alembert (1753), Roeser (1764), Miklin’s letter to Hülphers (1772), Vanderhagen (1785), Lefèvre (1802), Backofen (ca. 1803), Fröhlich (1811–1812), and Willman (1826). A mezzotint (ca. 1750–1760) by Johann Elias Ridinger illustrates a carefully drawn three-key clarinet with details of construction and a player using a contemporary fingering. Birsak’s (1973) observations on the tuning and pitch of some Baroque clarinets are discussed.
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