Finger Technique - Versionsgeschichte

Heinrich: /* Iwan Müller 1812 */

2021-04-27T20:41:39Z

Iwan Müller 1812

← Nächstältere Version		Version vom 27. April 2021, 22:41 Uhr
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	==Iwan Müller 1812==		==Iwan Müller 1812==
	[[Datei: Iwan Müller Anweisung.jpg\|mini\|links\|inger positions on Iwan Müller’s “omnitonic clarinet”]]		[[Datei: Iwan Müller Anweisung.jpg\|mini\|links\|inger positions on Iwan Müller’s “omnitonic clarinet”]]
	The "clarinette omnitonique" [omnitonic clarinet], by I[https://en.wikipedia.org/wiki/Iwan_M%C3%~~BCllerIwan~~ Müller] (1812) made legato connections between all tonal steps possible, but assigned new tasks to the thumb of the right hand and the little finger of the left hand, through a new thumb key and a key on the back of the instrument, respectively. This limited the extent to which the thumb could be used as a "holding finger" and to which the little finger on the right hand could be used as a supporting finger, resulting in considerable changes in holding the instrument, which also affected the [[Embouchure]] technique. This may be one reason why this system did not meet with the hoped-for acceptance when it was brought before a commission of conservatoire professors in Paris around 1820. In particular, the new key for the right thumb brought with it new distribution of the instrument’s weight on the hands and changed the holding technique. In order to find sufficient stability, a [[Embouchure#mandibular embouchure\|mandibular embouchure]] without double-lipping proved to be more practical. In Paris, however, the double-lip approach was still used (until about 1920/30).		The "clarinette omnitonique" [omnitonic clarinet], by [https://en.wikipedia.org/wiki/Iwan_M%C3%BCller Iwan Müller] (1812) made legato connections between all tonal steps possible, but assigned new tasks to the thumb of the right hand and the little finger of the left hand, through a new thumb key and a key on the back of the instrument, respectively. This limited the extent to which the thumb could be used as a "holding finger" and to which the little finger on the right hand could be used as a supporting finger, resulting in considerable changes in holding the instrument, which also affected the [[Embouchure]] technique. This may be one reason why this system did not meet with the hoped-for acceptance when it was brought before a commission of conservatoire professors in Paris around 1820. In particular, the new key for the right thumb brought with it new distribution of the instrument’s weight on the hands and changed the holding technique. In order to find sufficient stability, a [[Embouchure#mandibular embouchure\|mandibular embouchure]] without double-lipping proved to be more practical. In Paris, however, the double-lip approach was still used (until about 1920/30).
	<br>		<br>
	Around 1860, the further development of the Iwan Müller clarinet by way of the Baermann-Ottensteiner clarinet (see Oskar Kroll (1965) [3] led to the Oehler system which is widely used in Germany today.		Around 1860, the further development of the Iwan Müller clarinet by way of the Baermann-Ottensteiner clarinet (see Oskar Kroll (1965) [3] led to the Oehler system which is widely used in Germany today.

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Hyacinthe Klosé and Alfons Buffet 1839==		==Hyacinthe Klosé and Alfons Buffet 1839==
	The flutist [https://en.wikipedia.org/wiki/Theobald_Boehm Thobald Boehm] developed ring keys (1832), which made it possible to close two tone holes with one finger movement and thus to play a diatonic scale without a fork grip. [https://userpages.umbc.edu/~emrich/chapter1-2.html Hyacinthe Klosé and Alfons Buffet] transferred these developments to the clarinet (see Ridley, 1986)<ref>Ridley, E. A. K. "Birth of the 'Boehm' Clarinet." The Galpin Society Journal 39 (1986): 68-76. Accessed August 20, 2020. doi:10.2307/842134.</ref>. At the same time, the hard to operate keys on the back of the instrument (for the legato connections between the long notes e/b and f sharp/d sharp) were replaced by additional keys for the right and left little fingers, which also allowed for more virtuosic mobility. On today's Oehler system, which resulted from further developments of the Iwan Müller and Baermann-Ottenstiener clarinet, all fingers of both hands must "know" different positions for operating different keys. The Boehm system spares the index and middle finger of the right hand from having only two positions (open or closed).		The flutist [https://en.wikipedia.org/wiki/Theobald_Boehm Thobald Boehm] developed ring keys (1832), which made it possible to close two tone holes with one finger movement and thus to play a diatonic scale without a fork grip. [https://userpages.umbc.edu/~emrich/chapter1-2.html Hyacinthe Klosé and Alfons Buffet] transferred these developments to the clarinet (see Ridley, 1986)<ref>Ridley, E. A. K. "Birth of the 'Boehm' Clarinet." The Galpin Society Journal 39 (1986): 68-76. Accessed August 20, 2020. doi:10.2307/842134.</ref>. At the same time, the hard to operate keys on the back of the instrument (for the legato connections between the long notes e/b and f sharp/d sharp) were replaced by additional keys for the right and left little fingers, which also allowed for more virtuosic mobility. On today's Oehler system, which resulted from further developments of the Iwan Müller and Baermann-Ottenstiener clarinet, all fingers of both hands must "know" different positions for operating different keys. The Boehm system spares the index and middle finger of the right hand from having only two positions (open or closed).

Heinrich am 27. April 2021 um 06:36 Uhr

2021-04-27T06:36:24Z

← Nächstältere Version		Version vom 27. April 2021, 08:36 Uhr
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	As a legato exercise, [[Alain Billard#Legato\|Alain Billard]] has his students perform a glissando with their fingers; the tone holes are opened and closed so slowly that micro-intervals are created. This exercise also trains the flexibility of the air flow.		As a legato exercise, [[Alain Billard#Legato\|Alain Billard]] has his students perform a glissando with their fingers; the tone holes are opened and closed so slowly that micro-intervals are created. This exercise also trains the flexibility of the air flow.
	<br>		<br>
	[[Eli Eban#Finger technique\|Eli Eban]] refers to Robert Marcellus and chooses the type of finger movements according to the character of the music. In an Adagio the movements can be somewhat larger and slower; in fast passages the fingers jump from tone to tone in small, rhythmically precise movements (see also Daniel Bonade, (1962)<ref name=Bonade> Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. S.2</ref>.		[[Eli Eban#Finger technique\|Eli Eban]] refers to Robert Marcellus and chooses the type of finger movements according to the character of the music. In an Adagio the movements can be somewhat larger and slower; in fast passages the fingers jump from tone to tone in small, rhythmically precise movements (see also Daniel Bonade, (1962)<ref name=Bonade> Bonade, Daniel. 1962. The clarinetist's compendium: including method of staccato and art of adjusting reeds. Kenosha, Wis: Leblanc Publications. S.2 [https://www.vancouverconcertband.ca/images/pdfdocuments/AVP74_Leblanc_Clarinetists_Compendium.pdf] {04.27.2001}</ref>.
	<br>		<br>
	[[John Moses#Legato fingers\|John Moses]] refers directly to Daniel Bonade: in legato playing, he reaches out with his fingers first in the opposite direction and then slowly brings them to the clarinet. He compares the closing of the tone holes with the squeezing of a tennis ball, as opposed to a finger movement that would be comparable to percussive typing.		[[John Moses#Legato fingers\|John Moses]] refers directly to Daniel Bonade: in legato playing, he reaches out with his fingers first in the opposite direction and then slowly brings them to the clarinet. He compares the closing of the tone holes with the squeezing of a tennis ball, as opposed to a finger movement that would be comparable to percussive typing.
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	[[Michel Westphal#Position du support pouce\| Michel Westphal]] would not exaggerate the importance of the thumb rest position since it is placed differently depending on individual requirements. Changing between different instruments (basset horn, basset clarinets with thumb keys, historical clarinets) requires a higher position of the thumb rest in order to be able to operate the thumb keys.		[[Michel Westphal#Position du support pouce\| Michel Westphal]] would not exaggerate the importance of the thumb rest position since it is placed differently depending on individual requirements. Changing between different instruments (basset horn, basset clarinets with thumb keys, historical clarinets) requires a higher position of the thumb rest in order to be able to operate the thumb keys.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~

	==Working on Technically Difficult Areas==		==Working on Technically Difficult Areas==
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	[[Milan Rericha#Nur leicht gebogenen Finger\|Milan Rericha]] works out an even fluency using all possible trills. Special attention is paid to the trill g-a/d''-e'' (right hand). See also [[Fingertechnik#Flexibilität von Handgelenk\|François Benda]].		[[Milan Rericha#Nur leicht gebogenen Finger\|Milan Rericha]] works out an even fluency using all possible trills. Special attention is paid to the trill g-a/d''-e'' (right hand). See also [[Fingertechnik#Flexibilität von Handgelenk\|François Benda]].

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~

	==Becoming Fluent==		==Becoming Fluent==
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	One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009. [https://books.google.ch/books?id=qQc7AQAAQBAJ&printsec=frontcover&dq=Malcolm+Gladwell:+Outliers:+The+Story+of+Success.+Little,+Brown+and+Co.,&hl=fr&sa=X&ved=2ahUKEwjN2IiX5p3wAhVfgf0HHek7DGcQ6AEwAHoECAUQAg#v=onepage&q&f=false]{04.27.2001}</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.		One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009. [https://books.google.ch/books?id=qQc7AQAAQBAJ&printsec=frontcover&dq=Malcolm+Gladwell:+Outliers:+The+Story+of+Success.+Little,+Brown+and+Co.,&hl=fr&sa=X&ved=2ahUKEwjN2IiX5p3wAhVfgf0HHek7DGcQ6AEwAHoECAUQAg#v=onepage&q&f=false]{04.27.2001}</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~

	==Literature==		==Literature==

Heinrich: /* Checklist */

2021-04-27T06:34:20Z

Checklist

← Nächstältere Version		Version vom 27. April 2021, 08:34 Uhr
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	*All joints should be slightly bent – do not allow fingers to be stretched through!		*All joints should be slightly bent – do not allow fingers to be stretched through!
	*The thumb of the right hand should be bent slightly, if possible		*The thumb of the right hand should be bent slightly, if possible
	One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009.</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.		One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009. [https://books.google.ch/books?id=qQc7AQAAQBAJ&printsec=frontcover&dq=Malcolm+Gladwell:+Outliers:+The+Story+of+Success.+Little,+Brown+and+Co.,&hl=fr&sa=X&ved=2ahUKEwjN2IiX5p3wAhVfgf0HHek7DGcQ6AEwAHoECAUQAg#v=onepage&q&f=false]{04.27.2001}</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Working on Technically Difficult Areas */

2021-04-26T21:33:25Z

Working on Technically Difficult Areas

← Nächstältere Version		Version vom 26. April 2021, 23:33 Uhr
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	[[Harri Mäki#Take your “best” finger as role model\| Harri Mäki]] "copies" the fluency of the most agile finger: the movement of a slower finger is contrasted with the fast one until both can achieve the same speed.		[[Harri Mäki#Take your “best” finger as role model\| Harri Mäki]] "copies" the fluency of the most agile finger: the movement of a slower finger is contrasted with the fast one until both can achieve the same speed.
	<br>		<br>
	[[Milan Rericha#Nur leicht gebogenen Finger\|Milan Rericha]] works out an even fluency using all possible trills. Special attention is paid to the trill g-a/d''-e'' (right hand). See also François Benda.		[[Milan Rericha#Nur leicht gebogenen Finger\|Milan Rericha]] works out an even fluency using all possible trills. Special attention is paid to the trill g-a/d''-e'' (right hand). See also [[Fingertechnik#Flexibilität von Handgelenk\|François Benda]].

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Becoming Fluent==		==Becoming Fluent==

Heinrich: /* Becoming Fluent */

2021-04-26T21:30:35Z

Becoming Fluent

← Nächstältere Version		Version vom 26. April 2021, 23:30 Uhr
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	One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009.</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.		One of the most important general learning rules of acquiring professional-level technical playing skills is the number of practice hours that a prospective professional musician has logged by the age of 20. This is confirmed by a study by Malcom Gladwell<ref>Malcom Gladwell: ''Outliers: The Story of Success''. Little, Brown and Co., New York 2009.</ref>: 10,000 hours by the age of 20 are considered a prerequisite for a top career as a musician. Anyone who has only spent 4000 hours practicing must forgo a high-flying career. Of course, it is not only the quantity but also the quality of practicing – which includes a body-compatible finger technique – that plays an important role.

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Literature==		==Literature==

Heinrich: /* Execution of Finger Movements */

2021-04-26T21:23:44Z

Execution of Finger Movements

← Nächstältere Version		Version vom 26. April 2021, 23:23 Uhr
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	For [[Robert Pickup#Fingertechnik\|Robert Pickup]] it is very important to always play with the smallest possible finger movements. The fingers are always exactly above the tone holes when open. There are basically two finger movements: the "legato fingers" and the "articulating fingers." The difference in movement is that when playing legato with slightly bent fingers, the movement takes place in the base joint of the fingers. With the "articulating fingers" the focus of attention is on the fingertips. This stabilizes the bent finger shape a little more clearly and the fingertips hit the instrument in an “articulated” manner.		For [[Robert Pickup#Fingertechnik\|Robert Pickup]] it is very important to always play with the smallest possible finger movements. The fingers are always exactly above the tone holes when open. There are basically two finger movements: the "legato fingers" and the "articulating fingers." The difference in movement is that when playing legato with slightly bent fingers, the movement takes place in the base joint of the fingers. With the "articulating fingers" the focus of attention is on the fingertips. This stabilizes the bent finger shape a little more clearly and the fingertips hit the instrument in an “articulated” manner.
	<br>		<br>
	[[Thomas Piercy# Keep your fingers close to where you will use them\|Thomas Piercy]] retrained his technique when he was over forty years old: he transformed large, sometimes uncontrolled movements into the smallest possible precise movements exactly above the keys and tone holes. When practicing, the little fingers had to remain on the F and E keys when they were not in use (see also [[Finger ~~Tecnique~~#Flexibility of Wrist and Forearm\|Flexibility of Wrist and Forearm]]. This change was very time-consuming, but he found it was definitely worth it: not only his finger technique, but also his entire playing developed to a higher level.		[[Thomas Piercy# Keep your fingers close to where you will use them\|Thomas Piercy]] retrained his technique when he was over forty years old: he transformed large, sometimes uncontrolled movements into the smallest possible precise movements exactly above the keys and tone holes. When practicing, the little fingers had to remain on the F and E keys when they were not in use (see also [[Finger Technique#Flexibility of Wrist and Forearm\|Flexibility of Wrist and Forearm]]. This change was very time-consuming, but he found it was definitely worth it: not only his finger technique, but also his entire playing developed to a higher level.
	<br>		<br>
	Depending on the style [[Michel Westphal# Les doigts percussifs\|Michel Westphal]] uses the possibilities of striking the clarinet with the fingers noisily or moving them very smoothly and smoothly.		Depending on the style [[Michel Westphal# Les doigts percussifs\|Michel Westphal]] uses the possibilities of striking the clarinet with the fingers noisily or moving them very smoothly and smoothly.

Heinrich: /* Execution of Finger Movements */

2021-04-26T21:22:44Z

Execution of Finger Movements

← Nächstältere Version		Version vom 26. April 2021, 23:22 Uhr
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	For [[Robert Pickup#Fingertechnik\|Robert Pickup]] it is very important to always play with the smallest possible finger movements. The fingers are always exactly above the tone holes when open. There are basically two finger movements: the "legato fingers" and the "articulating fingers." The difference in movement is that when playing legato with slightly bent fingers, the movement takes place in the base joint of the fingers. With the "articulating fingers" the focus of attention is on the fingertips. This stabilizes the bent finger shape a little more clearly and the fingertips hit the instrument in an “articulated” manner.		For [[Robert Pickup#Fingertechnik\|Robert Pickup]] it is very important to always play with the smallest possible finger movements. The fingers are always exactly above the tone holes when open. There are basically two finger movements: the "legato fingers" and the "articulating fingers." The difference in movement is that when playing legato with slightly bent fingers, the movement takes place in the base joint of the fingers. With the "articulating fingers" the focus of attention is on the fingertips. This stabilizes the bent finger shape a little more clearly and the fingertips hit the instrument in an “articulated” manner.
	<br>		<br>
	[[Thomas Piercy# Keep your fingers close to where you will use them\|Thomas Piercy]] retrained his technique when he was over forty years old: he transformed large, sometimes uncontrolled movements into the smallest possible precise movements exactly above the keys and tone holes. When practicing, the little fingers had to remain on the F and E keys when they were not in use (see also [[~~Fingertecnique~~#Flexibility of Wrist and Forearm\|Flexibility of Wrist and Forearm]]. This change was very time-consuming, but he found it was definitely worth it: not only his finger technique, but also his entire playing developed to a higher level.		[[Thomas Piercy# Keep your fingers close to where you will use them\|Thomas Piercy]] retrained his technique when he was over forty years old: he transformed large, sometimes uncontrolled movements into the smallest possible precise movements exactly above the keys and tone holes. When practicing, the little fingers had to remain on the F and E keys when they were not in use (see also [[Finger Tecnique#Flexibility of Wrist and Forearm\|Flexibility of Wrist and Forearm]]. This change was very time-consuming, but he found it was definitely worth it: not only his finger technique, but also his entire playing developed to a higher level.
	<br>		<br>
	Depending on the style [[Michel Westphal# Les doigts percussifs\|Michel Westphal]] uses the possibilities of striking the clarinet with the fingers noisily or moving them very smoothly and smoothly.		Depending on the style [[Michel Westphal# Les doigts percussifs\|Michel Westphal]] uses the possibilities of striking the clarinet with the fingers noisily or moving them very smoothly and smoothly.
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	<br>		<br>
	[[Michel Westphal#Position du support pouce\| Michel Westphal]] would not exaggerate the importance of the thumb rest position since it is placed differently depending on individual requirements. Changing between different instruments (basset horn, basset clarinets with thumb keys, historical clarinets) requires a higher position of the thumb rest in order to be able to operate the thumb keys.		[[Michel Westphal#Position du support pouce\| Michel Westphal]] would not exaggerate the importance of the thumb rest position since it is placed differently depending on individual requirements. Changing between different instruments (basset horn, basset clarinets with thumb keys, historical clarinets) requires a higher position of the thumb rest in order to be able to operate the thumb keys.

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Working on Technically Difficult Areas==		==Working on Technically Difficult Areas==
	Following the basic principle of slow to fast, [[David Shifrin#Learning difficult passages\|David Shifrin]] breaks down difficult passages into smaller groups of notes and practices them in different tempos and rhythms. Our brain cannot reproduce longer, faster passages note for note. Such passages must be broken down into successive sequences of shorter groups of notes and then the whole passage can be played as a sequence of smaller groups of notes. Patterns of longer and shorter note values are often repeated until the movement sequences can be played back reflexively and strung together.		Following the basic principle of slow to fast, [[David Shifrin#Learning difficult passages\|David Shifrin]] breaks down difficult passages into smaller groups of notes and practices them in different tempos and rhythms. Our brain cannot reproduce longer, faster passages note for note. Such passages must be broken down into successive sequences of shorter groups of notes and then the whole passage can be played as a sequence of smaller groups of notes. Patterns of longer and shorter note values are often repeated until the movement sequences can be played back reflexively and strung together.

Heinrich am 26. April 2021 um 21:20 Uhr

2021-04-26T21:20:34Z

Änderungen zeigen

Heinrich am 26. April 2021 um 15:08 Uhr

2021-04-26T15:08:34Z

← Nächstältere Version		Version vom 26. April 2021, 17:08 Uhr
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	~~[[Kategorie:Fundamentals, English]]~~
	'''Contributions by Interviewees'''		'''Contributions by Interviewees'''
	<div style="column-count:3;-moz-column-count:3;-webkit-column-count:3">		<div style="column-count:3;-moz-column-count:3;-webkit-column-count:3">
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	}}		}}

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~

	==Iwan Müller 1812==		==Iwan Müller 1812==

Heinrich: /* Amand Vanderhagen 1785 */

2021-04-26T15:06:23Z

Amand Vanderhagen 1785

← Nächstältere Version		Version vom 26. April 2021, 17:06 Uhr
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	The mobility of the left thumb was – and continues to be – particularly challenging; it is the only finger to switch between four different basic positions: closed/open g<sup>1</sup>, with or without opening the overblowing flap.		The mobility of the left thumb was – and continues to be – particularly challenging; it is the only finger to switch between four different basic positions: closed/open g<sup>1</sup>, with or without opening the overblowing flap.
	==Amand Vanderhagen 1785==		==Amand Vanderhagen 1785==
	From the instructions of Jost ~~Michael~~ (~~1999~~)<ref name="Grifftechnik"> (see above), we can see a predecessor in Amand Vanderhagen (1785)<ref name=Vanderhagen>Amand Vanderhagen: ''Méthode Nouvelle et Raisonnée pour la clarinette''. Boyer, Paris, 1785</ref>, who in his Methode nouvelle et raisonnée pour la clarinette [New and Reasoned Method for the Clarinet] advocates the same principles concerning finger position and movement:		From the instructions of Jost Michaels (2001)<ref name="Grifftechnik">Michaels, Jost, and Allan Ware. 2001. Methodische Schule der klarinettistischen Grifftechnik Ausgabe für Böhm-System = Systematic approach to clarinet finger technique : edition for Boehm clarinet. Frankfurt am Main: Zimmermann.</ref> (see above), we can see a predecessor in Amand Vanderhagen (1785)<ref name=Vanderhagen>Amand Vanderhagen: ''Méthode Nouvelle et Raisonnée pour la clarinette''. Boyer, Paris, 1785</ref>, who in his Methode nouvelle et raisonnée pour la clarinette [New and Reasoned Method for the Clarinet] advocates the same principles concerning finger position and movement:

	{{Zitat		{{Zitat
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	\| ref = <ref name=Vanderhagen></ref>		\| ref = <ref name=Vanderhagen></ref>
	}}		}}

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	==Iwan Müller 1812==		==Iwan Müller 1812==
	[[Datei: Iwan Müller Anweisung.jpg\|mini\|links\|inger positions on Iwan Müller’s “omnitonic clarinet”]]		[[Datei: Iwan Müller Anweisung.jpg\|mini\|links\|inger positions on Iwan Müller’s “omnitonic clarinet”]]