Resonance fingerings are alternate note fingerings and venting combinations used to adjust the clarinet's acoustic resonance, improving tone, intonation and ease in the altissimo register by changing impedance and standing wave behavior inside the bore. Players use small changes in key combinations to fine tune how each note responds.

What Are Resonance Fingerings?

Resonance fingerings on the clarinet are specific alternate fingerings that slightly change which tone holes are open or closed to reshape the instrument's internal resonance. Unlike basic alternate fingerings used only for technical ease, resonance fingerings are chosen to improve tone color, intonation, stability and response, especially in the throat, clarion and altissimo registers.

These fingerings usually involve subtle venting, such as adding or releasing a pinky key, side key or low finger while keeping the written pitch the same. The goal is not to change the note name, but to optimize how that note vibrates in your particular setup. Advanced players treat resonance fingerings as a personal toolkit, customized for their mouthpiece, reed, clarinet and embouchure.

Resonance fingerings are most common for throat tones (G4 to Bb4), clarion break notes (A4 to C5), and altissimo notes (above C6). They are also useful for fine tuning unisons in ensemble playing, matching pitch with piano, and adjusting for temperature changes that affect intonation.

How Resonance Fingerings Work: Basic Acoustics and Instrument Anatomy

To understand resonance fingerings, you need a basic picture of how the clarinet works. The clarinet has a mostly cylindrical bore, a single reed that vibrates against the mouthpiece, and a series of tone holes and keys that change the effective length of the air column. The register key opens a small vent that shifts the instrument into a higher resonance.

When you play a note, the reed periodically interrupts the air flow, creating pressure waves that travel down the bore. These waves reflect at open tone holes and at the bell, forming standing waves. The pattern of these standing waves determines pitch, tone color and how easily a note speaks. Small changes in which holes are open or closed can significantly change these patterns.

Clarinet bore, tone holes and register vent

Imagine a simple diagram: a straight tube (the bore), with small side holes (tone holes) and a tiny hole near the top (the register vent). When you open a tone hole, the effective length of the vibrating air column becomes shorter. When you close it, the column becomes longer. The register vent encourages the air column to favor a higher resonance rather than the fundamental.

Resonance fingerings work by slightly altering which tone holes participate in the resonance. For example, adding a low F key while playing a high A does not change the written pitch, but it changes where pressure nodes and antinodes form inside the bore. This can darken the tone, correct sharpness, or stabilize a shaky response.

Acoustic impedance and standing waves

Acoustic impedance describes how easily sound energy moves through the instrument at a given frequency. Each fingering creates a unique impedance curve. When the impedance peak aligns well with the desired note, the tone is stable and resonant. When it does not, the note can sound thin, unstable or out of tune.

Resonance fingerings slightly change the impedance peaks by adjusting the effective bore shape and venting. In practice, this might mean adding a right-hand finger to increase resistance and lower pitch, or venting a side key to reduce resistance and help a high note speak. The player feels this as a more comfortable, centered response.

Because the clarinet overblows at the twelfth, its upper registers rely heavily on precise impedance shaping. That is why resonance fingerings are especially powerful in the clarion and altissimo registers, where small acoustic mismatches are magnified.

Practical Benefits: Tone, Intonation and Altissimo Control

Clarinet resonance fingerings directly address three common problems: pinched or thin tone, unstable or cracking high notes, and sharp or flat intonation on specific pitches. By giving you multiple acoustic options for the same written note, they let you choose the fingering that best matches your setup and musical context.

For tone, resonance fingerings can darken bright throat tones, smooth the transition over the break, and reduce harshness in the upper clarion. For example, adding low E or F keys to throat A often produces a rounder, more covered sound that blends better in orchestral or chamber settings.

For intonation, resonance fingerings give you mechanical ways to adjust pitch without overusing embouchure pressure. If high E is consistently sharp, a fingering that adds a low finger or pinky key can lower the pitch by several cents while preserving a relaxed embouchure and air support.

Altissimo control is where resonance fingerings become important. Many altissimo notes have multiple workable fingerings, each with different pitch, color and response. Carefully chosen resonance fingerings can make high G, A and above speak more reliably, with less biting and less risk of dropping to a lower partial.

Resonance fingerings also help match tone and pitch across different mouthpieces and reeds. Instead of fighting a brighter mouthpiece or a harder reed, you can adjust your fingering choices to restore your preferred sound and intonation profile, especially in exposed solo passages.

Common Resonance Fingerings & Examples (with notation and venting tips)

This section outlines widely used resonance fingerings for problem areas. Treat these as starting points. Always test with a tuner and your own ears, and adjust based on your clarinet, mouthpiece and reed. Written note names assume B flat clarinet, sounding a whole step lower.

Throat tones: G4 to Bb4

Throat tones often sound dull, spread or sharp. Resonance fingerings use right-hand fingers or low keys to connect them better to the clarion register.

Throat G (G4): Standard fingering is open left hand A key only. Try adding right-hand 1 or 1-2 for more focus and slightly lower pitch. Some players add low E key with right-hand 1 for extra darkness in soft passages.

Throat A (A4): Standard is A key plus register key. For more resonance, add right-hand 1-2 or 1-2-3. For very sharp instruments, add low E or F key with right-hand 1. Use these especially when slurring from clarion E or F to throat A.

Throat Bb (Bb4): Standard is A key plus side Bb key. Try adding right-hand 1-2 or 1-2-3. Some setups respond well to adding low F key with right-hand 1-2 for a more covered orchestral sound.

Break notes: A4 to C5

Notes around the break can crack or sound uneven. Resonance fingerings help align resonance between throat and clarion.

Clarion A (A4, written above the staff): Standard fingering is left-hand 1-2 plus register key. If sharp or thin, add right-hand 1 or 1-2. In lyrical passages, adding low F key with right-hand 1 can stabilize slurs from throat A.

Clarion B (B4): Standard is left-hand 1-2-3 plus register key. If B is sharp, add right-hand 1 or 1-2. For a darker timbre, add low E key with right-hand 1. Test each option with a tuner while sustaining mezzo forte.

Clarion C (C5): Standard is left-hand 2-3 plus register key. If C tends to sag, try lifting right-hand 3 if you normally keep it down, or venting the side F key slightly. If C is sharp, add right-hand 1 or low F key.

Upper clarion: D5 to G5

Upper clarion notes can be brilliant but sometimes edgy or sharp. Resonance fingerings here are often small right-hand or pinky adjustments.

D5: Standard is left-hand 1-2 plus right-hand 1-2-3 plus register key. If D is sharp or bright, add low F key. If flat, experiment with lifting right-hand 3 while keeping 1-2 down, depending on your instrument.

E5: Standard is left-hand 1-2-3 plus right-hand 1-2 plus register key. Many clarinets have a sharp E. Try adding right-hand 3 or low E key. In soft dynamics, adding low F key can also help stabilize response.

F5 and G5: For F, standard is left-hand 1-2-3 plus right-hand 1 plus register key. For G, standard is left-hand 1-2-3 plus register key. If either note is thin, add right-hand 2 or 2-3. If sharp, add low E or F key with right-hand 1.

Altissimo notes: C6 and above

Altissimo fingerings vary widely by instrument and player. The following examples show typical resonance adjustments, not full fingering charts. Always test multiple options.

Altissimo C6: A common fingering is left-hand 1-2 plus register key plus a specific right-hand combination (often 1-2). To mellow a bright C, add low F key. If C is flat, try lifting right-hand 2 while keeping 1 down.

Altissimo D6: Standard fingerings often use left-hand 1-2-3 plus register key plus a side key. If D is unstable, add right-hand 1 or 1-2. For sharp D, add low E key. For better slurs from clarion A or B, choose the fingering that keeps more common fingers down.

Altissimo E6 and F6: These notes often have several workable options. One version may be brighter but more in tune, another darker but slightly flat. Use resonance fingerings by adding or removing low E/F keys and right-hand fingers to find the best balance for each musical context.

Altissimo G6 and above: At this level, resonance fingerings are important. Small changes in venting, such as adding a side key or low F, can mean the difference between a secure note and a crack. Keep a written record of which combinations work best for each interval and dynamic.

Creating and Using Personal Fingering Charts (templates and workflow)

Because resonance fingerings are highly personal, a custom chart is more valuable than any generic list. The goal is to document which fingerings work best for your clarinet, mouthpiece and reed in specific contexts, such as soft entrances, loud peaks or tricky slurs.

Template structure for your chart

Create a table with columns for written note, standard fingering, alternate fingering diagram, pitch tendency (sharp/flat/center), tone description, response notes, and preferred uses. You can do this on paper, in a spreadsheet, or in a notation program with fingering diagrams.

Include separate rows for the same note in different registers if needed. For example, you might have multiple entries for altissimo E6: one for soft entrances, one for loud sustained notes, and one for fast technical passages where finger movement is the priority.

Workflow for testing and documenting

Start with a small set of problem notes, such as throat A, clarion B and altissimo D. For each note, test 3 to 5 alternate fingerings. Sustain each at mezzo forte with a tuner and record yourself. Note pitch in cents, tone color, and ease of attack and slur.

Then test each fingering in musical context: scales, arpeggios and excerpts that use that note. Pay attention to how it feels in your hand, how it connects to neighboring notes, and whether it holds pitch at different dynamics. Only keep alternates that offer a clear advantage.

Update your chart regularly. When you change reeds, mouthpieces or clarinets, recheck your key resonance fingerings. Mark fingerings that are stable across setups with a star, and those that are setup dependent with a note about which gear they suit best.

Digital vs paper tracking

Paper charts are quick to sketch, especially if you like drawing simple key diagrams. Digital charts in a spreadsheet or note-taking app make it easier to sort by note, register or problem type. Many players use both: paper for the practice room, digital for long term archiving and backups.

Whichever format you choose, consistency matters more than design. The more systematically you track your experiments, the faster you will converge on a small, reliable set of resonance fingerings that feel natural and produce predictable results.

Practice Routines and Exercises for Mastery

Resonance fingerings only help if they are automatic under pressure. Structured practice turns isolated tricks into dependable tools. Focus on slow, mindful work first, then gradually add speed, range and musical complexity.

Long tones and tuner work

Begin with long tones on your target notes. For each note, play the standard fingering for 8 beats at mezzo forte, then switch to your chosen resonance fingering for 8 beats without changing embouchure or air. Watch the tuner and listen for tone and response changes.

Record these sessions. Later, compare the standard and resonance versions for pitch stability, spectral richness and noise. If you have access to a spectrum analyzer app, look for a smoother harmonic profile and fewer unwanted noise components on the better fingering.

Scale and arpeggio integration

Next, embed resonance fingerings into scales and arpeggios. For example, practice a two octave G major scale, always using your resonance fingering for throat A and clarion B. Start at quarter note equals 60, then increase by 4 bpm when you can play three clean, in tune repetitions.

Apply the same process to arpeggios that cross the break and reach into altissimo. Focus on smooth finger motion and even tone. If a resonance fingering complicates technique too much in fast passages, consider keeping it for lyrical contexts and using the standard fingering for speed.

Altissimo accuracy drills

For altissimo, use target practice drills. Choose one note, such as altissimo E, and play repeated attacks from silence at various dynamics. Aim for 10 clean attacks in a row with your chosen resonance fingering. If you miss, restart the count. Track your success rate over several weeks.

Then add interval drills: slur from clarion A or B up to altissimo D, E or F using your resonance fingerings. Use a metronome and increase tempo only when the shifts are reliable and in tune. Document which fingerings give you the highest success rate.

Recording and A/B comparison

Once a week, record short excerpts that feature your problem notes, such as orchestral solos or etudes. Play each excerpt twice: once with standard fingerings, once with your resonance choices. Label the takes clearly and listen back the next day with fresh ears.

Note which version has better tone, pitch and musical flow. Over time, you will build confidence in your resonance choices and refine which ones are worth the extra fingering complexity in performance situations.

Maintenance, Setup and Gear Factors That Affect Resonance

Resonance fingerings cannot compensate for serious mechanical or setup problems. Before investing heavy time in alternate fingerings, make sure your clarinet, mouthpiece and reed are working properly. Small leaks or mismatches can make even the best resonance fingering unreliable.

Quick leak test and pad checks

Perform a simple suction test: assemble the upper joint, cover all tone holes with your fingers, close all keys, and gently suck air from the top. You should feel firm resistance that holds briefly. If air leaks immediately, you may have pad or tenon leaks that need technician attention.

Visually inspect pads around critical tone holes, especially the register key, throat A key and right-hand ring keys. Look for torn, hardened or misaligned pads. Even a small leak on a break note can cause cracking and instability that no resonance fingering will fix.

Corks, tenons and key regulation

Check that tenon corks fit snugly without excessive force. Loose joints can leak and change alignment of tone holes. Gently wiggle assembled joints; there should be minimal movement. If you feel play, have the corks checked and replaced if needed.

Key regulation affects how evenly pads close. Press each key slowly and watch for pads that close later than others. Uneven closure can create partial leaks that only appear under playing pressure. A qualified technician can adjust key heights and spring tensions to restore proper sealing.

Mouthpiece, reed and ligature factors

The mouthpiece and reed form the vibrating system that feeds energy into the bore. Tip opening, facing length and reed strength all influence how resonance fingerings behave. A very closed mouthpiece with a hard reed may make altissimo stiff, while an open mouthpiece with a soft reed may make pitch unstable.

Experiment with small changes in reed strength and cut. If altissimo feels resistant even with good air and embouchure, try a slightly softer reed or a reed with a more flexible tip. If pitch is wildly unstable, try a slightly stronger reed or one with more heart.

Ligature placement and tension also matter. Place the ligature so it holds the reed securely without crushing it. Tighten just enough to prevent slipping. Overly tight ligatures can choke resonance, while very loose ligatures can cause response inconsistencies that complicate resonance fingering tests.

Instrument bore and design differences

Different clarinet models, bore sizes and keywork designs respond differently to the same resonance fingering. A German system clarinet may need different right-hand additions than a French system instrument. Even among Boehm clarinets, variations in tone hole placement and bore taper affect which alternates work best.

When changing instruments, expect to revise your resonance chart. Some fingerings will transfer well, others will not. Treat the first few weeks on a new clarinet as a fresh research period for your resonance toolkit.

Troubleshooting: Diagnose and Fix Common Problems

When a note misbehaves, it can be hard to know whether the cause is fingering, equipment or technique. A simple diagnostic checklist helps you isolate the problem and choose the right solution instead of randomly changing everything at once.

Diagnostic checklist

Start with this order: 1) air and embouchure, 2) standard fingering and hand position, 3) equipment and leaks, 4) resonance fingering choice. For each problem note, ask: Is my air steady and supported? Is my embouchure relaxed but firm? Are my fingers fully covering the holes?

If those basics are solid, test the note with a different reed and check for leaks as described earlier. Only after confirming that equipment is reasonably sound should you rely on resonance fingerings as the primary fix.

Common symptom and solution pairs

Symptom: High notes sound pinched or thin.
Try: Relax jaw pressure slightly, increase air speed, and test a resonance fingering that adds a low E or F key to increase resonance. For example, on high E, add right-hand 3 or low E key to darken and stabilize.

Symptom: Altissimo note cracks down to a lower partial.
Try: Check that the register key and relevant tone holes are sealing. Use a resonance fingering that vents slightly more, such as adding a side key or adjusting right-hand fingers, to favor the correct harmonic.

Symptom: High E or F is consistently sharp.
Try: Avoid biting to lower pitch. Instead, add right-hand fingers or low E/F keys to lengthen the effective air column. Document which combination brings the tuner closest to center without sacrificing tone.

Symptom: Throat tones are flat and dull.
Try: Support with faster air, then experiment with adding right-hand 1-2-3 to increase focus. If still flat, check for leaks in the upper joint and around the throat A and register keys.

Symptom: Note still sounds pinched after trying alternates.
Try: Reevaluate your reed and mouthpiece pairing. A very hard or worn reed can force you to bite, making any fingering sound pinched. Replace the reed, then retest your resonance options.

Simple flowchart logic

If a note is unstable, first fix air and embouchure. If still unstable, check for leaks and reed issues. If equipment is fine, test 2 or 3 resonance fingerings and pick the most stable. If none work, consult a teacher or technician, as the issue may be a subtle mechanical or embouchure habit.

History, Archives and Notable References

Resonance fingerings have roots in 19th and early 20th century clarinet pedagogy, even if the term itself is more recent. Early method books by Carl Baermann and Hyacinthe Klosé already listed alternate fingerings aimed at improving tone and intonation in specific registers.

As clarinet design evolved through makers like Buffet and others, teachers began to systematize these alternates. Modern pedagogy often uses the language of acoustics, referencing impedance and standing waves, but the practical goal remains the same: find fingerings that make problem notes more beautiful and reliable.

The International Clarinet Association archives contain articles and conference presentations on altissimo fingerings and acoustics that indirectly address resonance fingerings. Contemporary authors and researchers have expanded on this work, offering more detailed analyses of how alternate fingerings shape the clarinet's resonance profile.

Resources, Downloads and Further Study

To deepen your work with clarinet resonance fingerings, combine practical charts with acoustic understanding. Look for modern fingering guides that include multiple options per note, particularly in the altissimo register, and that discuss pitch tendencies and tone color differences.

Recordings and masterclasses by leading clarinetists can also provide insight. Listen for how professionals manage throat tones and altissimo in live performance, then experiment with similar resonance strategies in your own practice.

Acoustics texts and online resources that explain woodwind impedance and standing waves can help you predict which fingerings might work before you even try them. Understanding why a certain added key darkens tone or lowers pitch will make your experimentation more efficient and systematic.

Finally, maintain your own archive of resonance fingering discoveries. Over years of playing, this personal resource will become more valuable than any generic chart, especially as your equipment and musical demands evolve.

Key Takeaways

• Clarinet resonance fingerings are alternate key combinations that keep the same written pitch but reshape the instrument's internal resonance to improve tone, intonation and stability.
• They are most effective for throat tones, break notes and altissimo, where small acoustic mismatches can cause pinched tone, sharpness or cracking.
• A personal fingering chart, built through systematic testing with a tuner and recordings, is the best way to find reliable resonance options for your specific setup.
• Solid equipment setup, leak free pads, appropriate reeds and a healthy embouchure are prerequisites for resonance fingerings to work consistently.
• With 4 to 6 weeks of focused practice, resonance fingerings can significantly increase altissimo accuracy and make your overall sound more even and controlled.

FAQs

What is clarinet resonance fingerings?

Clarinet resonance fingerings are alternate fingerings and venting combinations that keep the same written note but change which tone holes are open or closed. This reshapes the instrument's acoustic resonance, helping you improve tone color, intonation and stability, especially in the throat, clarion and altissimo registers.

How do resonance fingerings help with altissimo notes?

Altissimo notes rely on precise resonance alignment to speak cleanly. Resonance fingerings adjust impedance and standing wave patterns by adding or removing keys, making it easier to lock into the correct harmonic. This reduces cracking, stabilizes pitch and often produces a fuller, less pinched sound in the high register.

Can mouthpiece or reed changes make resonance fingerings work better?

Yes. Mouthpiece tip opening, facing length and reed strength all affect how resonance fingerings respond. A well matched mouthpiece and reed setup makes altissimo and break notes more predictable, so your chosen resonance fingerings will feel more consistent and require less embouchure compensation.

How do I create a personal resonance fingering chart?

List your problem notes, then test several alternate fingerings for each using a tuner and recordings. For every fingering, document pitch tendency, tone color, response and best musical uses. Organize your results in a table or spreadsheet and update it as you change reeds, mouthpieces or instruments.

Why does a note still sound pinched after trying alternate fingerings?

If a note stays pinched, the cause is often embouchure tension, air support or reed condition rather than fingering alone. Check that you are not biting, use faster air, and try a fresher or slightly softer reed. Once those basics are solid, resonance fingerings will have a much stronger positive effect.

Are there standard resonance fingering charts I can download?

Many method books and online resources include alternate and altissimo fingering charts that function as starting points for resonance work. However, these charts are only a baseline. You should always test and adapt them to your own clarinet, mouthpiece and reed to build a personal, reliable resonance fingering set.