Backun Alternate Fingerings

Volume 3, Altissimo Range

Introduction
The purpose of this booklet is to maintain our collective curiosity about the myriad of ways to be expressive
with the clarinet. There have been many books on fingerings printed in the past. Hopefully, there will
be many more in the future. However, if you are able to find even one of these fingerings useful, the
mission of this booklet will be accomplished. More than anything, we would like to encourage you to use
your imagination to further expand on the information given. There are several pages in the back of this
booklet with blank fingering diagrams for you to record your own alternate fingerings, or to share with your
colleagues. It should also be noted that some fingerings may vary in effectiveness, depending on the brand
of instrument and mouthpiece played, and ultimately, on the ability and sensitivity of you, the artist.

How to Use This Booklet

The highlighted tone holes are those that need to be covered. Please keep in mind that, at times, alternate
fingerings will call for semi-closed tone holes. The highlighted keys are the ones that need to be actuated.

It is very important to understand that while having alternate fingerings is useful, they are only as useful as
one’s level of musicianship and sensitivity enables them to be. This is a guide to encourage critical musical
thinking and, as such, it should remind us to think of the clarinet as a tool of expression

About Altissimo Fingerings

The following altissimo register fingerings work very well, provided that the proper voicing on the clarinet is
used. For our purposes, the definition of proper clarinet voicing is the combination of a high tongue position
and fast air stream, along with a firm yet flexible embouchure.

Many instruments of the past have had acoustical maladies that made the upper register, beginning with
clarion A, tune sharp. That has required players to lower the tongue position and slow down the air speed
to compensate for the shortcomings in tuning. Making all those adjustments will contribute to an unsteady
embouchure, loss of control of the intonation and deterioration of the quality of tone. The completely re-
engineered bore and tone hole designs found on Lumière, CG Carbon, and other Backun Clarinets virtually
eliminate the shortcomings found on other clarinets.

CG Carbon™
The future and beyond
The world’s most technologically advanced clarinet, the CG Carbon features a body crafted from carbon
fibre with an exotic wood core. Using a patent pending process, carbon fibre is fused to the precision
machined core, resulting in a clarinet with the robust projection and unmatched intonation that Backun
is known for. Years of material analysis and real-world testing have proven the fusion process can endure
wide-ranging temperatures and humidity conditions without expansion or contraction of the clarinet body.
Tonally, the playing characteristics stay true to that of a wooden clarinet with the new Backun Scale. This
signature model, designed for Maestro Corrado Giuffredi, represents a giant leap into the future… and
beyond.

Available in B♭ and A, unstained grenadilla or cocobolo body with gold or silver keywork.

Volume 3, Altissimo Range - Introduction & CG Carbon Clarinet  @backunmusical - 2

 Fingerings for Altissimo G♯

1. A simple, yet very effective fingering. It responds well at all 3. A nicely centered, covered and in-tune fingering.
dynamics. It has a slightly brighter tone and some players Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74,
may voice it high, but with the variations it remains a versatile Second Mvt. – m57
fingering.
Spohr, Clarinet Concerto No. 3, WoO 19, First Mvt. – m81
Example: Messager, Solo de Concours – Cadenza
Messager, Solo de Concours – Cadenza
2. This chromatic A♭ can be a little low on the B♭ clarinet. However,
4. This fingering works well in scale work. *The C♯/G♯ key can help
it works well on the A clarinet.
raise the pitch if voicing the note seems low.
Example: Ravel, Daphnis et Chloé – Four measures after Rehearsal 219
Example: Messager, Solo de Concours – Cadenza
Messager, Solo de Concours – Cadenza

Strauss, Till Eulenspiegel’s Merry Pranks, Op. 28 – Seven measures

after Rehearsal 35

a1a
1a1 11b
1b1b
1b
1a 1a22 221b 1b33 332 244 44 3 3 4 4
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Volume 3, Altissimo Range - Altissimo G♯  @backunmusical - 3

 Fingerings for Altissimo A

1/1a.
Of the two, 1a is preferable for its ability to slur well. Fingering 1a 2a. This fingering works better on the A clarinet.
also corrects intonation if a player prefers lighter reeds. Example: Ravel, Daphnis et Chloé – Five measures after Rehearsal 219
Example: Widor, Introduction et Rondo, Op. 72 – Nineteen measures after Più
3. This fingering slurs very well and plays in tune. Depending on
Largo
the voicing, it can play a little low.
Saint-Saëns, Clarinet Sonata, Op. 167, Fourth Mvt. – m105
Example: Rossini, Introduction, Theme and Variations for Clarinet –
2. This is a preferred A fingering for the B♭ clarinet. Three measures before Allegretto

Example: Rossini, Theme and Variations for Clarinet, Introduction – Fourteen Bozza, Bucolique – Two measures before Rehearsal 1
measures before Allegretto

1 1 1 1 1 11a 1a1a1a1a1a2 2 2 2 2 22a 2a2a2a2a2a3 33 33 3 4 44 44 4

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Volume 3, Altissimo Range - Altissimo A  @backunmusical - 4

 Lumière™
The evolution of Backun
The Lumière takes the clarinet to a level of breathtaking clarity
and focus from the highest altissimo down through the low
register. Less is more, as the Lumière flaunts European flair with
uncompromising intonation and fluidity. Completely redesigned
from the bell up, and the first clarinet to feature the new Backun
Scale, this custom clarinet is a perfect match for those who desire
the highest quality playing experience in a more traditional
French-style instrument.

Available in B♭ and A, unstained grenadilla or cocobolo body with

gold or silver keywork, or silver keys with gold posts.

Volume 3, Altissimo Range - Lumière Clarinet  @backunmusical - 5

 Fingerings for Altissimo B♭

The next few fingerings are the most sensitive and susceptible to 2. Similar in application to Fingering 1, but easier to slur.
voicing variations, embouchure and reed strength.
3. Considered the “Long B♭“ fingering. It is best used in louder
dynamics and tends to be direct, centered and bright.
1. This fingering works in most situations, including slurs and
Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74, First
dynamic variations. Depending on one’s voicing, minor
Mvt. – m241
adjustments for pitch can be achieved with the F♯/C♯ key, or
the sliver key. This is notated in Fingering 1a.
Example: Weber, Clarinet Concerto No. 2 in E♭ Major, Op. 74,
First Mvt. – m241

Spohr, Clarinet Concerto No. 2, Op. 57, First Mvt. – Eighteen

measures before end of mvt.

Martino, A Set for Clarinet, First Mvt. (1a with F♯/C♯ key)

11111 11a
1a
1a
1a
1a 1a22222 233333 3
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Volume 3, Altissimo Range - Altissimo B♭  @backunmusical - 6

 Q Series™
Classic feel and playability
The Q Series clarinet offers those who prefer a more traditional
French-style instrument the chance to experience the world of
Backun. We combine modern manufacturing techniques and
treatments, including a carbon fibre middle joint ring, with
naturally unstained grenadilla wood and brilliant silver-plated
keywork to produce an instrument with truly familiar feel and
playability. An affordable masterpiece, the Q Series is the classic
choice.

Available in B♭ and A, unstained grenadilla body, silver keywork.

Volume 3, Altissimo Range - Q Series Clarinet  @backunmusical - 7

Fingerings for Altissimo B

1. The standard fingering. Responds well, but tends to be sharp. 4. More secure than Fingering 3, this is a good, solid fingering that
Example: Martino, A Set for Clarinet, First Mvt. responds well, especially on wide leaps. This fingering is perfect
for slurring up to altissimo B. You can also play this without the
1a. Similar to Fingering 1, this is less resistant but well focused. A♭/E♭ key if the intonation is too high, but doing so will increase
2. A warmer quality fingering that is lower in intonation. the resistance.

3. A fingering that is in tune and easy to slur up to, it has a darker

quality, which makes it easy to match the flutes in orchestral
playing. The optional G# will give you a quicker response, but
will make the note sharper.
Example: Berg, Wozzeck, Final Scene

1 11 11 1 1a1a
1a1a1a 1a
2 22 22 3 332 33 4 44 434 4a4a
4a4a4a
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Volume 3, Altissimo Range - Altissimo B  @backunmusical - 8

 Alpha™
March to your own beat
The Alpha Clarinet is crafted from an ideal blend of synthetic
materials for maximum resonance and durability. Designed
to be the optimal indoor and outdoor student clarinet, it is
at home in the classroom, on the concert stage, or on the
marching field. Professionals and students alike count on the
Alpha for performances where a wooden instrument might not
be appropriate, thanks to its exceptionally light body, durable
keywork and weather-resistant build that ensures years of lasting
playability.

Available in B♭, proprietary synthetic body, silver or nickel keywork.

Volume 3, Altissimo Range - Alpha Clarinet  @backunmusical - 9

Fingerings for High Altissimo C , C♯ , and D
A Special Note
These are suggested fingerings, but every player and instrument can produce different volumes, response and pitch on a given note. Be sure to explore
as many options as you can to make them work for you.

One of the more common suggestions for making these notes work is to try to remain as relaxed and open as possible with taking in a bit more reed
and mouthpiece to produce such extreme altissimo notes on the clarinet. Players should always think about letting the reed vibrate further down the
chin, rather than creating any undue pressure that may close-off the space between the mouthpiece and reed. The opening should remain as free as
possible to create the optimum speed of reed vibration.
Continued from 3. in the previous column.
Fingerings for High Altissimo C
Example: Ginastera, Variacoiones Concertantes, Rehearsal 24
1-2. The altissimo C is extremely delicate and is sensitive to voicing
and reed strength. In Fingerings No. 1 and 1a, one can alternate Fingering for High Altissimo D
the A♭/E♭ key for the F♯/C♯ key for individual comfort and
4. Alternate fingerings for High D are few and far between, but this
response. While there are many other fingerings available, the
one is a great all-around choice.
emphasis for this select group is on practicality of use, as in the
The Ginastera example below is for A clarinet.
Spohr Concerti.
Example: Ruders, Tattoo for One, Last measure
Fingering for High Altissimo C♯ Many players choose to play this on the A clarinet.
3. The High C♯ in the Ginastera Variations can be played on either Example: Ginastera, Variaciones Concertantes, Rehearsal 24
B♭ or A Clarinet, depending on your level of comfort. See below
for the Bb version.

11 1111 1a1a1a1a1a1a 1b
1b1b
1b
1b
1b 22 2222 33 3333 44 4444
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OrOr OrOrOrOr OrOr OrOrOrOr

Volume 3, Altissimo Range - Altissimo C, C#, and D  @backunmusical - 10

Backun Barrels & Bells

Lumière Barrel MoBa Barrel Fatboy Barrel E♭ Cutback Barrel

The Lumière Barrel offers a sweet, The MoBa Barrel produces an The Fatboy is at home in the world’s Backun E♭ Barrels feature a unique
balanced tone with increased focus and unmistakable, full-bodied, dark sound most prestigious concert halls, famous cutback design that allows the use of
projection that illuminates every corner that makes it a favourite amongst jazz clubs, and everywhere in between. B♭ clarinet reeds on an E♭ mouthpiece,
of the concert hall. Elegant curves and orchestral players worldwide. With It’s our best-selling barrel, and for good without the need to trim them. Artists
flowing design perfectly complement increased resistance and focus, and reason. Artists who are called upon love how this barrel improves intonation
its sweet, refined character. Artists an unbelievable ease of articulation to interpret a wide variety of music and flexibility, while stabilizing the
appreciate the incredible richness and throughout the entire range of the appreciate the Fatboy Barrel’s unique tone of the instrument throughout
resonance of the Lumière Barrel for clarinet, this barrel is a great option for flexibility and versatility. Note: In Japan, all registers. Paired with the Backun
chamber, solo, and orchestral playing. artists wanting a darker tone. Artists this model is known as the Backun E♭ Bell, this barrel really tames the
prefer this barrel for orchestral repertoire. Barrel. savage beast

Available in grenadilla and cocobolo Available in grenadilla and cocobolo Available in grenadilla and cocobolo Available in grenadilla and cocobolo
woods. Designed for both B♭ and woods. Designed for both B♭ and woods. Designed for both B♭ and woods. Designed to fit most E♭ clarinets.
A clarinets. A clarinets. A clarinets.

Lumière Bell MoBa Bell E♭ Bell

The Lumière Bell features a unique Double Voicing Big halls are no match for the MoBa Bell, which is a Tuning the E♭ clarinet can be a major challenge, so we
Groove (DVG) that improves intonation and stability in powerhouse well suited to orchestral and solo stages. designed a bell as fearless as most E♭ players. Adding
the clarion register. A modestly sized bell set between With a taper unique to the MoBa product line, an yet another dimension of versatility to your impressive
a carbon fibre tenon ring and a pronounced bell flair, integrated Voicing Groove, and a bold bell curve, the repertoire, the Backun E♭ Bell aligns the registers
this wooden work of art is a musical sculpture that MoBa Bell offers players exceptional versatility and and delivers a warm tonal centre to your sound. The
allows the clarinet to sing. projection. Backun Voicing Groove is standard on all E♭ Bells.

Available in grenadilla and cocobolo woods.Designed Available in grenadilla and cocobolo woods.Designed Available in grenadilla and cocobolo woods.Designed
for both B♭ and A clarinets. for both B♭ and A clarinets. for both B♭ and A clarinets.

Volume 3, Altissimo Range - Barrels & Bells  @backunmusical - 11

 BACKUN BACKUN

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2 1a 1
2 1a 1
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3 2 1a 1
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Volume 3, Altissimo Range - Additional Fingerings 

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3 2 1a 1
3 2 1a 1

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Additional Fingerings

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3 2 1a
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@backunmusical - 12
 Vocalise Mouthpieces
By Hawkins and Backun
Richard Hawkins collaborated with Backun Musical
Services to develop a series of mouthpieces with
tonal ring and clarity that will change the course
of mouthpiece history. Designed using advanced
CAD/CAM software and tested with 3D printing
technology, Vocalise Mouthpieces are crafted on
highly advanced nine-axis CNC machines.

Each mouthpiece helps the player centre

articulation, pitch and altissimo, with impeccable
ease and consistency of voicing. It is the first
mouthpiece of its kind specifically designed to play
well on both synthetic and cane reeds, in strengths
2.5 to 4.5. Designed for all ages and experience
levels, Vocalise B♭ Mouthpieces features a model for
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reasonable price.

Vocalise Bb R, G, H and Z Vocalise Bb CG

R – Close/Short G – Medium/Medium H – Open/Long Z – Extremely Open/Long CG – Open/Long

Evenness and a focus of sound A medium faced mouthpiece The most open facing in the The Vocalise Z was developed Crafted from a proprietary clear
that sings with ease are two that combines exceptional lineup, the H is both smooth to meet the needs of artists synthetic material, the Vocalise
characteristics of this close evenness and round tonal and dark, with ample cushion who prefer mouthpieces with CG Mouthpiece is Open/Long,
facing mouthpiece that allows complexity. The G has a for those who need more a larger facing, while offering while giving players a flexible
to articulate with reduced effort, smoother influence on interval robust flexibility throughout sig nifica nt v ol u m e a nd and vibrant tone. This model
while ringing true with fabulous connections just where you the registers. This mouthpiece projection. With a robust tone, articulates with ease and holds
clarity. need it. requires unyielding passion in it is reminiscent of more current a clear quality of sound at
performance. European models. extreme volumes.

Volume 3, Altissimo Range - Vocalise Mouthpieces  @backunmusical - 13

 Visit the Backun Musical Services
Website for More Clarinet Resources

Alternate Fingerings for Throat Tones, Volume 1

Alternate Fingerings for Upper Register, Volume 2

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