A Boehm clarinet finger chart maps every chromatic fingering from the low chalumeau through the altissimo register and shows whether the diagram displays written or sounding pitch.
For Bb clarinets the standard written range commonly shown is written E3 (low E) to written C7; for A clarinets the written fingering pattern is identical but the sounding pitch is a minor third lower than written.
Essential Boehm clarinet finger chart — printable chromatic map for Bb and A instruments
A complete printable chart must show both written and sounding pitch labels or clearly state which view it uses, because the same fingering produces different concert pitches on Bb vs A instruments.
Include a full chromatic layout, with each semitone from low chalumeau through altissimo, and mark the standard ranges for Bb and A clarinets so players know where alternate or extended fingerings begin to appear.
A good PDF or SVG should include: clear key labels, black/white hole indicators, half‑hole markers, alternate/trill fingering callouts, and a small transposition legend explaining how to convert concert pitch to written (Bb: up a major second; A: up a minor third).
Create a two‑column printable that shows written fingerings on the left and the concert (sounding) pitch on the right for quick orchestra or doubling use.
What a printable PDF or SVG chart should include
Key labels: list note name, octave, and concert equivalent for Bb and A instruments next to each fingering cell.
Black/white hole indicators: use filled circles for closed keys and empty circles for open holes; mark half‑holes with a half‑filled circle and use an X for auxiliary or nonstandard keys so finger choices are instantly visible.
Alternate/trill callouts: show one or two recommended alternates per pitch and label primary trill fingerings with a small tr icon and recommended substitute fingers for long reaches.
Transposition notes: include a compact table. Example: “Concert C → written D (Bb clarinet); Concert C → written Eb (A clarinet).” That prevents wrong transpositions under pressure.
How to read a Boehm fingering diagram: symbols, abbreviations, and tone‑hole conventions
Filled circle = key closed; empty circle = key open; half‑filled = half‑hole; an X usually marks an auxiliary key (side keys, trill keys) not part of the standard hole map.
Octave/register key markers are typically shown as a small upward arrow or the label “oct” near the thumb; a small “½” indicates a recommended half‑hole for precise tuning or throat tones.
Finger labeling: left hand is shown on the upper stack (1–3 fingers and thumb), right hand on the lower stack (1–3 fingers and thumb position); pinky clusters use separate icons for G/Bb/Eb/low C keys.
Charts should explicitly state whether the diagram shows the written pitch or the sounding pitch; if not stated, assume the publisher’s default (usually written on student charts, sounding on orchestral quick guides).
Spot alternates by looking for smaller secondary icons next to the main fingering; a light grey alternate usually means sacrifice tone color for tuning or response.
Healthy hand mechanics: left hand, right hand, thumb setup, and pinky clusters
Place the thumb rest so your thumb supports the instrument through the lower third of the pad; too high causes tension, too low loses leverage and can make the left hand overreach.
Keep fingers curved and rounded; roll the hand slightly toward the thumb to reduce pinky stretch and maintain consistent pad coverage without collapsing joints.
Pinky cluster handling: sequence your pinky motions—close G (right pinky) before reaching for Bb (left pinky) in fast passages to avoid dropped notes and extra motion.
For small hands or injury, use the roll technique: rotate the instrument slightly to shorten span, use alternate fingerings that replace stretches, and move the thumb rest incrementally toward a comfortable balance point or add a thumb cushion.
Fingering by register: chalumeau, throat tones, clarion, and altissimo
Identify registers visually on the chart: chalumeau (low), throat tones (middle lower), clarion (middle upper), altissimo (high). Each register needs tailored fingering and embouchure support.
Chalumeau (low register) fingerings and common pitfalls
Low register fingerings generally use closed tone holes and rely on stable pad seals; common problem: leaks that produce a muffled or flat low E through C#.
Typical alternates for low E–C# include vented variants and partial hole adjustments; try a slightly vented low D or open right‑hand fork to improve response if the note is dead or sluggish.
Throat tones and awkward middle‑range fingerings
Throat tones (written A#/Bb, B, C) often require half‑hole or forked fingerings to stabilize pitch; try half‑hole B vs forked B and choose the one that balances intonation and timbre for the piece.
Choose throat fingering by context: use half‑hole for legato lines where tonal continuity matters; choose forked or vented alternatives when tuning or projection is the primary concern.
Clarion register (written G4–B5) fingerings and reliable clarion response
Clarion fingerings focus on clean register‑key technique; keep the octave key motion minimal and use alternate fingerings to tame brightness or to smooth slurs across the break.
When a clarion note is sharp or harsh, try vented alternates or lift a supportive finger slightly to lower pitch without changing embouchure drastically.
Altissimo and extension fingerings (high clarinet finger chart)
Altissimo fingerings rely on harmonic alignment and measured venting; start with harmonic exercises on written high G and extend slowly while testing alternates for each note.
Practice recommended altissimo patterns slowly, use a tuner and record progress, and avoid adopting non‑standard fingerings in performance without fully testing them for intonation and tone.
Alternate fingerings and trills: substitutes for intonation, color, and speed
Use vented alternates to lower pitch, closed alternates to brighten or sharpen, and half‑hole options for micro‑adjustments; label your chart with the purpose of each alternate so you pick the right one fast.
Trill chart essentials: list the primary trill fingering, a long‑reach alternative, and a backup that uses adjacent trill keys for speed; practice the backup so it is as reliable as the primary choice.
Split and cross‑fingerings (forked fingerings) are practical fixes: use them for tuning quirks, muted timbres, or to prepare for multiphonics, but mark them clearly on your chart for rehearsal memory.
Bb vs A clarinet: fingering chart differences, transposition rules, and selection tips
The fingering patterns on both instruments are the same; the difference is concert pitch: Bb clarinet sounds a major second below written, A clarinet sounds a minor third below written.
Transposition rules: to convert concert to written, raise concert pitch by a major second for Bb (concert C → written D) and by a minor third for A (concert C → written Eb).
Choose A or Bb based on the score’s transposition needs: publishers choose A parts to reduce accidentals and simplify fingerings in keys that would otherwise be awkward on Bb clarinet.
For quick reference label your chart clearly as written or sounding and include a tiny transpose box so you can flip between concert and written at sight.
Troubleshooting tone, response, and tuning using the fingering chart
Use alternate fingerings diagnostically: if a vented alternate improves pitch, the problem is likely sticky pads or a closed vent; if no alternate helps, check reed or mouthpiece fit.
Sharp tendencies: try venting a note or using a slightly open alternate; flat tendencies: try a more closed alternate or strengthen embouchure and support before blaming fingering.
Quick checks: test octave break response with the register key held down; if the break is inconsistent, practice slow register transitions and check pad alignment.
How equipment (reeds, mouthpiece, barrel) changes fingering choices
Barrel length: a longer barrel lowers overall pitch and often requires more vented or open alternates; shorter barrel raises pitch and may favor closed fingerings.
Reed strength and tip opening affect response: a harder reed often needs more open fingerings or different embouchure pressure; a very open mouthpiece may call for more venting fingerings to tame brightness.
Test equipment changes systematically: change only one variable at a time, log a few notes and alternates before deciding if technique or gear caused the change.
Practice plans to memorize the Boehm clarinet fingering map and internalize alternates
Systematic drills: practice scale families using primary fingering first, then repeat the scale using one alternate fingering per note; record and compare tuning and tone on each run.
Chart‑mapping exercise: pick a small chart section (four notes), play each fingering slowly, label alternates with sticky notes on the printable, and revisit daily using spaced repetition.
Embed alternates in repertoire by assigning one phrase per week where the student intentionally uses alternates in performance context until it feels natural.
Best digital and printed Boehm fingering resources: charts, apps, and interactive tools
Look for printable charts from respected conservatories, established instrument makers, and major pedagogy publishers; the best charts include full chromatic maps, alternate fingering callouts, and clear transposition notes.
Interactive apps and web tools that play back fingerings and show fingering overlays are useful for ear training and quick reference on gigs; choose an app that lets you toggle between written and sounding views.
Decide between static PDFs and interactive tools based on use: students at home benefit from interactive playback; orchestral players and stage musicians prefer compact, printable two‑column sheets for sightreading and quick swaps.
Advanced techniques: multiphonics, microtonal adjustments, and experimental Boehm fingerings
Start multiphonics with vetted beginner fingerings and low air pressure; mark these fingerings on a separate advanced section of your chart and never introduce them in performance without rehearsal tests.
Microtonal adjustments use partial holes and carefully chosen vented alternates; practice micro‑adjustments slowly with a tuner and jot down finger positions that reliably move pitch by quarter‑tone increments.
Maintain a separate library of advanced fingerings and label them with expected tone color and intonation tendencies so you don’t confuse them with standard alternates in rehearsal.
Teaching and learning pitfalls: common student mistakes with Boehm finger charts and instructor fixes
Students often rely on the chart visually and ignore embouchure, airflow, and support; require hands‑off practice where students play from memory and grade themselves against the printed chart.
Premature altissimo use creates habit problems; introduce altissimo fingering only after consistent clarion control and require evidence: stable tone, accurate pitch, and smooth slurs across the break.
Instructor fixes: teach progressive fingering introduction, use quick diagnostic alternates to rule out leaks vs technique faults, and set scaffolded finger‑chart homework that focuses on one problem area per week.
Quick‑reference FAQ for tricky Boehm fingering questions players ask most
Q: When should I use half‑hole vs forked fingering?
A: Use half‑hole for legato and tonal continuity when small pitch adjustment is needed; use forked when projection or tuning requires a more vented, stable option. Try both at rehearsal tempo and choose the one that fits the phrase.
Q: How do I choose the best trill fingering?
A: Pick the primary trill that produces consistent tone and minimal motion, then learn one long‑reach alternative for awkward passages. Test both at tempo and mark the one that stays in tune under dynamic changes.
Q: Why does my low E sound flat despite correct fingering?
A: Common causes: leaking pads, reed too soft/weak, or air support collapse. Test by trying a vented alternate; if pitch improves, inspect pads. If no improvement, try a firmer reed and check mouthpiece alignment.
Quick rehearsal checklist: try alternate fingerings, swap reed or mouthpiece, inspect pads for leaks, and retake the note after each change to isolate the cause.
