“ He doesn’t equalise well between throat Bb and into Clarion “
To explain this:
He uses a side throat Bb coming from Clarion C a note above. This note is either a trill fingering or can be used as a long(er) note because of its sonority - it uses a proper tone hole for Bb rather than the speaker key, which is ideally too small.
It can be used in many fingering combinations but generally is easier to maintain a smooth transition from other notes close to it in the Chalameau register.
However. The usual fingering for throat Bb can be “equalised” to other notes by adding fingers further down the clarinet. On my Buffet I use (in addition to the A key and speaker key) - LH 2, 3 and LH pinky C#. The sonority is then as good as anything, and whilst a bit awkward, you (have to) get used to it.
Similar fingerings are usually used for throat A, G# and G. A little to make them sound bigger and match other notes but also to combat a little sharpness.
Thea King used to call it “putting some clothes on”. Jack Brymer called them Resonance Fingerings.
Advantages lay in moving from the throat notes into the Clarion as some fingers are already down -
EG:
Throat G : add LH 3 and RH 1, 2
Now slur to Clarion D. Half the fingers are already there. Should hopefully be a smoother transition.
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