MoBa Alternate

Fingerings for
Throat Tones
Vol. 1
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 one’s 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

Faculty, Temple University
Co-Developer, MoBa Clarinets and Accessories

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. –

mm23–24, Solo m36

Debussy, Première 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, Der Hirt auf dem Felsen, 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.

Vol. 1 - Open G 4
 1 11 11 2 2 2 21a 1 2a2a2a2a2 1a 3 3 3 3 3 2 3

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

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.

Vol. 1 - Throat A♭ 6
 1111 1 1a1a1a1a1a 1 2 2 2 2 2 1a 3 3 3 3 3 2 3

Vol. 1 - Throat A♭ 7
Fingerings for Throat A
1. A very warm and useful fingering, and one that works 2a. Similar to above with a slightly different resonance.
especially well on the neighboring half-steps A♭/B♭ to create
3. A very resonant, dark and clear fingering. While it may be a bit
evenness and smoothness. This fingering transitions well to
awkward, with practice it can become one of the standards.
the upper register.
It slurs well to the upper register and is extremely stable for
Examples: Debussy, Petite Pièce – m1 intonation and is flexible in color.
Debussy, Première Rhapsodie – m12 Example: Finzi, Five Bagatelles: II. Romance – m1
Beethoven, Symphony No. 6 in F Major, Op. 68, First Mvt. – Brahms, Clarinet Sonata No. 2, Op. 120, No. 2 – m1
Solo Before G, mm291–297
Weber, Clarinet Concerto No. 1 in F Minor, Op. 73,
Solo after K, m477, mm480–481
Second Mvt. – m1
1a. Similar to above with a slightly different resonance. Puccini, Tosca, E Lucevan le stelle – Solo

2. Dark and focused, this fingering also tends to have more 3a. Similar to above with a slightly different resonance.
glow and works well slurring to C and B. It tends to be a little
Example: Brahms, Symphony No. 3 in F Major, Op. 90, Second Mvt. – m1
sharper than Fingering 1.
Berlioz, Symphonie Fantastique, Op. 14, Third Mvt. –
Example: Weber, Concertino in E♭ Major, Op. 26 – Introduction
Five measures after Rehearsal 43

Vol. 1 - Throat A 8
 1 1 1 11 1 1a1a1a 1a1a1a 2 2 2 22 2 2a2a2a 2a2a2a 3 3 3 33 3 3a3a3a 3a3a3a

Vol. 1 - Throat A 9
Fingerings for Throat A (cont.)
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, mm3–4

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. –
mm124–125

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

Second measure after Rehearsal 1

Vol. 1 - Throat A (cont.) 10

 3b3b3b3b 4 4 4 4 3b 5 5 5 5 4 3b 5 4 5

Vol. 1 - Throat A (cont.) 11

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

Fingerings 2 or 4, but blends well, especially in passages that – Beginning

have the throat A.

Vol. 1 - Throat B♭ 12
 1 11 1 1 1 2 22 2 2 2 3 33 3 3 3 4 44 4 4 4 4a4a4a4a4a4a

Vol. 1 - Throat B♭ 13
Additional Fingerings

Vol. 1 - Additional Fingerings 14

Additional Fingerings

Vol. 1 - Additional Fingerings 15

Additional Fingerings

Vol. 1 - Additional Fingerings 16

 Opera Orchestra, the Chicago Symphony, currently serves on the faculty of Temple
the Cincinnati Symphony, the Indianapolis University.
Symphony, the Seoul Philharmonic and the
Flemish Radio Symphony. During his tenure His performances have been met with
with the Metropolitan Opera Orchestra, critical acclaim. The Philadelphia Inquirer
Mr. Morales soloed under the baton of hailed his appointment to The Philadelphia
James Levine in Carnegie Hall and on two Orchestra, stating that “in fact, may
European tours. He made his solo debut represent the most salutary personnel event
with The Philadelphia Orchestra in 2004 of the orchestra’s last decade.” He was also
with Charles Dutoit and has since performed praised by The New York Times as having
as soloist on numerous occasions. “... fleet technique, utterly natural musical
grace, and the lyricism and breath control
An active chamber musician, Mr. Morales of a fine opera singer,” Mr. Morales was also
has performed in the MET Chamber singled out in The New York Times review

Ricardo Morales
Ensemble series at Carnegie’s Weill Recital of the Metropolitan Opera’s production of
Hall with James Levine at the piano, at Berlioz’s Les Troyens, describing his playing
the Santa Fe Chamber Music Festival, the as “exquisite” and declared that he “deserved
Philadelphia Chamber Music Society, the a place onstage during curtain calls.”
Seattle Chamber Music Summer Festival,
the Saratoga Chamber Music Festival, His debut solo recording, French Portraits,
on NBC’s The Today Show, and with the is available on the Boston Records
Ricardo Morales is one of the most sought Philharmonic. He also performs as principal
Chamber Music Society of Lincoln Center. label. Morales’ recent recordings include
after clarinetists of today. He joined The clarinetist with the Saito Kinen Festival
He has performed with many distinguished performances with The Kalichstein–Laredo–
Philadelphia Orchestra as principal clarinet Orchestra and the Mito Chamber Orchestra,
ensembles such as: The Juilliard Quartet, Robinson Trio and also with the Pacifica
in 2003, having held the same position at the invitation of Maestro Seiji Ozawa.
the Pacifica Quartet, the Miró Quartet, Quartet, which was nominated for a Latin
with the Metropolitan Opera Orchestra
A native of San Juan, Puerto Rico, Morales the Leipzig Quartet and The Kalichstein– Grammy Award. In 2004, Mr. Morales joined
since the age of 21, under the direction of
began his studies at the Escuela Libre de Laredo–Robinson Trio. He has also forces with internationally recognized
James Levine. His virtuosity and artistry as
Musica, along with his five siblings, who are collaborated with: Christoph Eschenbach, musical instrument designer, Morrie Backun,
a soloist, chamber and orchestral musician
all distinguished musicians. He continued André Watts, Emmanuel Ax, Jean–Yves to develop MoBa, a line of professional
have been hailed and recognized in concert
his studies at the Cincinnati Conservatory Thibaudet, James Ehnes, Gil Shaham and clarinets and clarinet accessories by Backun
halls around the world. He has been asked to
of Music and Indiana University, where he Kathleen Battle. Mr. Morales is highly sought Musical Services.
perform as principal clarinetist with the New
York Philharmonic, the Chicago Symphony received an Artist Diploma. after for his recitals and master classes,
which have taken him throughout North
Orchestra and at the invitation of Sir Simon
He has been a featured soloist with many
America, Europe and Asia. In addition, he
17
Rattle, as principal clarinet with the Berlin
orchestras, including: the Metropolitan
 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
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Visit the Backun Musical website, or contact your local dealer, to learn more
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MoBa Bb Grenadilla Silver and MoBa A Cocobolo 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 clarinet’s 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, they’re played
on major concert stages around the world. With twelve models in
our line–up, finding your ultimate mouthpiece is closer... or wider...
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Pint Sized Perfection – Delicate when needed – powerful on

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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:
MoBa Alternate Fingerings for Upper Register, Vol. 2
MoBa Alternate Fingerings for Altissimo Range, Vol. 3

Download the Backun Alternate Fingering App for

iOS on iTunes

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