The clarinet is a single-reed musical instrument in the woodwind family. It has a nearly cylindrical shape and a bell-shaped end.

Clarinets form a family of instruments with different sizes and pitches. This is the largest woodwind family, ranging from the very large BB♭ contrabass clarinet to the small A♭ piccolo clarinet. The most common type is the B♭ soprano clarinet, which is usually referred to simply as "clarinet."

A German instrument maker named Johann Christoph Denner is often credited with inventing the clarinet around 1700. He added a register key to the chalumeau, an earlier single-reed instrument. Over time, more keys and airtight pads were added to improve the sound and ease of playing. Today, the clarinet is a standard instrument in orchestras and concert bands. It is used in classical music, military bands, klezmer, jazz, and other musical styles.

Etymology

The word "clarinet" may have come into English from the French word "clarinette," which is a smaller, feminine form of the Old French word "clarin." It may also have come from the Provençal word "clarin," meaning "oboe," which traces back to the Latin word "clarus," meaning "clear." The word is connected to the Middle English word "clarion," a type of trumpet, which also comes from the same Latin root.

The first known use of the word "clarinette" to describe the instrument was in a 1710 order from the Duke of Gronsfeld for two instruments made by Jacob Denner. The English word "clarinet" appeared as early as 1733. The older term "clarionet" was used from 1784 until the early 20th century but is now rarely used.

A person who plays the clarinet is called a "clarinetist" in North America, a "clarinettist" in Britain, or simply a "clarinet player."

Development

The modern clarinet evolved from a Baroque instrument called the chalumeau. This instrument was similar to a recorder but had a single-reed mouthpiece and a cylindrical shape inside. It lacked a register key, so it was mostly played in its lowest range, with a limited range of about one and a half octaves. It had eight finger holes, like a recorder, and a written pitch range from F3 to G4. At that time, the reed was placed against the upper lip, unlike modern practice. Around the start of the 18th century, German instrument maker Johann Christoph Denner (or possibly his son Jacob Denner) added two keys to a chalumeau in the alto register. One key allowed access to a higher register, which began an octave and a perfect fifth above the first register. A second key extended the range of the first register to A4 and, with the register key, to B♭4. Later, Denner lengthened the bell and added a third key to lower the pitch range to E3.

After Denner’s changes, other makers added keys to improve tuning and make fingerings easier. The chalumeau became less used, and the clarinet of the Classical period, as used by Mozart, typically had five keys. Mozart suggested extending the clarinet downward by four semitones to C3, leading to the basset clarinet, which was about 18 centimeters (7.1 inches) longer. Theodor Lotz first made this instrument. In 1791, Mozart composed a clarinet concerto in A major for this instrument, with passages reaching down to C3. By Beethoven’s time (around 1780–1820), the clarinet was a regular part of the orchestra.

The number of keys was limited because the felt pads did not seal tightly. Iwan Müller invented a new pad made of kid leather, which, when combined with countersunk tone holes, sealed the keyholes better. This allowed more keys to be added. In 1812, Müller created a clarinet with seven finger holes and thirteen keys, calling it “clarinet omnitonic” because it could play in all keys. This eliminated the need for differently tuned clarinets. Müller also invented the metal ligature and the thumb rest. During this time, the way the mouthpiece was held changed, with the reed facing downward. This practice began in 1782 and became standard by the 1830s.

In the late 1830s, German flute maker Theobald Böhm invented a ring and axle key system for the flute. This system was adapted for the clarinet between 1839 and 1843 by French clarinetist Hyacinthe Klosé and instrument maker Louis Auguste Buffet. Their design used needle springs and ring keys to simplify complex fingerings. They called this the Boehm clarinet, though Böhm was not involved in its development, and the system differed from the flute’s. Other key systems were later developed, including the Full Boehm, Mazzeo, McIntyre, Benade NX, and Reform Boehm systems, which combined Boehm-style keys with a German mouthpiece and bore.

In 1848, Eugène Albert created the Albert clarinet, based on Müller’s design but with changes to the keywork. It was also called the “simple system” and included a “spectacle key” patented by Adolphe Sax and rollers to improve little-finger movement. After 1861, a “patent C sharp” key developed by Joseph Tyler was added to other models. Improved Albert clarinets were made in Belgium and France for export to the UK and the US.

Around 1860, clarinettist Carl Baermann and instrument maker Georg Ottensteiner developed the Baermann/Ottensteiner clarinet, which had new connecting levers for multiple fingering options. In the early 20th century, German clarinetist and maker Oskar Oehler created a clarinet with fingerings similar to the Baermann model but with more tone holes. This became the Oehler system clarinet or German clarinet, while the Boehm clarinet was later called the French clarinet. The French and German clarinets differ in fingering and sound. Richard Strauss noted that “French clarinets have a flat, nasal tone, while German ones approximate the singing voice.” Today, the difference is smaller, though intonation differences remain. Oehler clarinets are still used in German and Austrian orchestras.

Today, the Boehm system is standard worldwide except in Germany and Austria, where the Oehler clarinet is still used. Some contemporary Dixieland players continue to use Albert system clarinets. The Reform Boehm system is also popular in the Netherlands.

Acoustics

The clarinet has a cylindrical shape inside, which helps create its unique sound. This sound changes depending on the three main sections of the instrument: the chalumeau, clarion, and altissimo registers. The A and B♭ clarinets have similar shapes and sound qualities, though the A clarinet usually has a slightly warmer tone. The E♭ clarinet has a brighter sound that can be heard clearly even in loud orchestras. The bass clarinet has a deep, mellow sound, and the alto clarinet sounds similar to the bass but is not as dark.

Sound is produced in the following way:

• The player places their lips around the mouthpiece and reed, applying gentle, even pressure to create an airtight seal. Air is blown past the reed, causing it to vibrate, much like a flag in the wind. As air pressure increases, the reed vibrates more until it touches the mouthpiece. The reed stays closed until either its natural springiness opens it or a pressure wave from the air pushes it open. Each time the reed opens, a small burst of air passes through, then the reed closes again. When played loudly, the reed may be closed up to half the time. The burst of air, which is slightly more pressurized than the surrounding air, travels down the cylindrical tube and exits through the nearest open hole or the end of the tube (see diagram: image 1).
• More air than usual escapes from the instrument, creating a slight vacuum inside the tube. This vacuum wave moves back up the tube (image 2).
• The vacuum wave reflects off the sloped end of the mouthpiece. The small opening between the reed and mouthpiece has little effect on the reflection because the opening is much smaller than the tube. Even if the reed is fully open, most of the wave is reflected back down the tube (image 3).
• When the vacuum wave reaches the open end of the tube, air rushes in to fill the space. A little more air enters the tube, creating a compression wave that travels back up the tube (image 4). This wave is reflected again at the mouthpiece end. At this point, either the compression wave pushes the reed open or the reed naturally vibrates, allowing another burst of air to travel down the tube.
• The original compression wave, now stronger after the second burst of air, travels down the tube twice more (covering four lengths of the tube) before the cycle repeats.

In addition to the main compression wave, other sound waves called harmonics are created. These are caused by the reed’s uneven movement, the reed temporarily sealing the mouthpiece, and small imperfections in the tube. Many waves are produced, but only some (mainly the odd-numbered harmonics) are strengthened. This, along with the instrument’s cut-off frequency (where sound weakens), creates the clarinet’s characteristic tone.

Most of the clarinet’s tube has a cylindrical shape with an inner diameter of about 0.575 to 0.585 inches (14.6 to 14.9 mm). However, the tube narrows slightly near the joint between the upper and lower parts, forming a subtle hourglass shape. This design helps adjust the instrument’s pitch and responsiveness. The bell at the bottom of the clarinet flares outward to improve the sound and tuning of the lowest notes. Modern clarinets are usually tuned to 440 to 442 Hz (concert pitch is 440 Hz), but adjusting the tube’s length can change the tuning to match other instruments. Other factors affecting tuning include temperature and how loudly the instrument is played.

Most modern clarinets have "undercut" tone holes, which are slightly angled inside the tube. This makes the tone holes function as if they are larger, helping the air flow smoothly through them. Covering or uncovering the tone holes changes the length of the air column, altering the pitch. Players switch between the chalumeau and clarion registers using the register key. When the register key is open, it stops the fundamental frequency from being reinforced, causing the reed to vibrate at three times the original frequency, producing a note a twelfth higher.

The clarinet’s fixed reed and uniform tube shape create sound similar to a cylindrical stopped pipe. Unlike recorders, which have a tapered shape and overblow at the octave, the clarinet’s cylindrical shape causes it to overblow at the twelfth. The chalumeau register plays the fundamental notes, while the clarion register plays the third harmonic (a perfect twelfth higher). The altissimo register, with help from the register key and the first left-hand hole, plays the fifth harmonic (a perfect twelfth plus a major sixth higher). The fifth and seventh harmonics are also used, producing notes even higher.

The player controls the clarinet’s tone through lip position, air pressure, reed and mouthpiece choice, airflow evenness, and shaping of the vocal tract. These factors help the player produce the desired sound.

Vibrato, a pulsating change in pitch, is uncommon in classical music but used by some performers like Richard Stoltzman. Other effects include glissando, growling, trumpet-like sounds, double tongue, flutter tongue, and circular breathing. Players may also use special techniques to play microtonal intervals. Some clarinets are designed to play quarter tones.

Construction

Clarinet bodies are made from many materials, including wood, plastic, hard rubber or Ebonite, metal, and ivory. Most wooden clarinets are made from African blackwood (grenadilla), or less commonly, Honduran rosewood, cocobolo, or mopane. In the past, boxwood and ebony were also used. Since the mid-20th century, student and band clarinets are often made from plastics like acrylonitrile butadiene styrene (ABS). A type of plastic called Resonite, first used by Selmer, was one of the first such materials. The Greenline model by Buffet Crampon uses a mix of resin and leftover African blackwood powder from wooden clarinets. Metal soprano clarinets were popular in the late 19th century, especially for military use. Metal is still used for some contra-alto and contrabass clarinets, as well as the necks and bells of larger clarinets.

Mouthpieces are usually made of hard rubber, though some cheaper ones are made of plastic. Other materials, such as glass, wood, ivory, and metal, have also been used. Ligatures are often made of metal and tightened with screws; other options include plastic, string, or fabric.

The clarinet uses a single reed made from the cane of Arundo donax. Reeds can also be made from synthetic materials. The ligature holds the reed to the mouthpiece. When air is blown between the reed and the mouthpiece, the reed vibrates to create sound.

Most players buy pre-made reeds, though some adjust them or make their own from cane "blanks." Reeds are labeled with hardness levels from 1 (soft) to 5 (hard). However, this scale is not standardized, so reeds with the same number may vary in hardness between brands. The reed's hardness and the mouthpiece's design affect how easy the instrument is to play and the sound it produces.

The reed is attached to the mouthpiece with the ligature, and the top half-inch of this assembly is held in the player's mouth. In the past, string was used to secure the reed. The way the mouth forms around the mouthpiece and reed is called the embouchure. The reed presses against the lower lip, while the top teeth usually touch the mouthpiece. Some players use a "double-lip" embouchure by rolling the upper lip under their teeth. Adjusting the strength and shape of the embouchure changes the tone and pitch. Players may use a pad on the mouthpiece or temporary cushioning on their teeth to reduce pressure.

The mouthpiece connects to the barrel. The length of the barrel can be adjusted to change the instrument's tuning. On basset horns and larger clarinets, a curved metal neck is used instead of a barrel.

Most clarinets have an upper joint (operated mainly by the left hand) and a lower joint (operated mainly by the right hand). Some clarinets have a single-piece body. The modern soprano clarinet has many tone holes—seven are covered by the fingers, and the rest are controlled by 17 keys. The most common key system is the Boehm system, named after its designer, Hyacinthe Klosé, who was inspired by flute designer Theobald Boehm. Another system is the Oehler system, used mostly in Germany and Austria. The Albert system, based on the early Mueller system, is used by some jazz, klezmer, and folk musicians.

The trill keys, located at the bottom of the upper joint, are operated by the right hand. The weight of smaller clarinets is supported by the right thumb on a part called the thumb rest. Larger clarinets use a neck strap or floor peg for support.

At the bottom of the clarinet is a flared end called the bell. The bell does not make the sound louder but helps balance the tone for the lowest notes. For other notes, the sound is produced mainly at the tone holes, and the bell has little effect. On basset horns and larger clarinets, the bell curves forward and is usually made of metal.

In the 1930s, some clarinets had plateau keys, which were filled with material. These keys were expensive and had sound issues. They were designed for cold weather, for players who wear gloves, and for those with specific physical needs.

Clarinet family and ranges

Clarinets have the widest range of pitches among common woodwind instruments. A clarinet's range is usually divided into three sections. The lowest section, called the chalumeau register, includes notes from the written E3 (or C3 if available) to B♭4. The middle section, called the clarion register, covers more than an octave, from the written B4 to C6. The highest section, called the altissimo register, includes all notes above C6. Each section has a different sound: the chalumeau sounds deep and rich, the clarion sounds brighter and sweeter, like a distant high trumpet, and the altissimo can sound sharp and high-pitched.

At first, only C clarinets were made. Later, clarinets in B♭, A, and the basset horn in F and G were developed. From the 19th century until the middle of the 20th century, many types of clarinets were created, ranging from very high-pitched A♭ clarinets to very low-pitched subcontrabass clarinets. Except for C clarinets (such as the C soprano clarinet and basset clarinet in C), all clarinets are transposing instruments. This means that instruments higher than the C clarinet play notes that are higher than the written music, such as the A♭ clarinet, which plays a sixth higher. Longer instruments, like the B♭ clarinet, play notes that are lower than written, by one tone, and the B♭ contrabass clarinet plays two octaves and one tone lower.

• Clarinets in A♭, E♭, and B♭; basset clarinet in A; alto clarinet with a range down to low E♭; basset horn; bass clarinet with a range down to low E♭; bass clarinet with a range down to low C; contra alto clarinet; and contrabass clarinet
• Subcontrabass clarinets by Leblanc (1939) and Foag (2025)

Performance practice

The modern orchestra often includes two clarinet players, each usually using a B♭ clarinet and an A clarinet. Clarinet parts in musical scores often switch between these two instruments. The use of soprano clarinets in B♭ and A is connected to the history of the instrument, as well as how it sounds and produces music. Before about 1800, woodwind instruments had limited keys because their pads did not seal air tightly. The lower range of the clarinet, called the chalumeau register, covers a twelfth (an octave plus a perfect fifth) before producing higher notes naturally. This requires many keys and holes to play all nineteen notes in this range. Instruments like oboes, flutes, bassoons, and saxophones only need twelve notes before overblowing, which requires fewer keys. Clarinets with few keys could not play chromatically, limiting them to certain musical keys. As airtight pads and better key designs were developed, more keys were added to woodwinds, reducing the need for multiple clarinets in different keys. The use of clarinets in C, B♭, and A remained common, as composers specified their use in scores.

Lower-pitched clarinets produce a "mellower" sound (less bright). The C clarinet, which sounds the highest and brightest, became less popular because the B♭ and A clarinets could cover its range and were preferred for their sound. By around 1850, the C clarinet was rarely used, though some composers still wrote parts for it. Others used various clarinets, such as E♭ or D soprano clarinets, basset horns, bass clarinets, and contrabass clarinets. Using different clarinets for tonal variety became common in 20th-century classical music. Although improved technology and equal-tempered scales reduced the need for multiple clarinets, playing in distant keys remained difficult, so the A clarinet stayed a standard orchestral instrument.

Common combinations in chamber music include:
• Clarinet and piano.
• Clarinet trio: clarinet, piano, and another instrument (such as a string instrument).
• Clarinet quartet: three B♭ clarinets and a bass clarinet; two B♭ clarinets, an alto clarinet, and a bass clarinet; two B♭ clarinets, an E♭ alto clarinet, and a B♭ bass clarinet; sometimes four B♭ sopranos; or other combinations, such as a basset horn, especially in European classical works.
• Clarinet quintet: a clarinet and a string quartet, or five clarinets in modern music.
• Wind quintet: flute, oboe, clarinet, bassoon, and horn.

In concert bands, the E♭ clarinet, B♭ clarinet, alto clarinet, bass clarinet, and contrabass clarinet are frequently used. These bands often have multiple B♭ clarinet parts, with three or four parts played by two to three musicians each. The clarinet is also used in military bands. Author Eric Hoeprich notes that the clarinet’s role in military bands helped increase its popularity, as it fit well within ensembles.

A clarinet choir consists of many clarinets playing together, usually including several members of the clarinet family. This ensemble first appeared in 1927. The similar tone of clarinets across the family creates a sound similar to a human choir. Occasionally, parts for non-clarinet instruments, such as voice or French horn, are included in the music.

Repertoire

The clarinet developed later than other woodwind instruments in an orchestra. It has many solo pieces from the Classical period and later, but few from the Baroque era. Early examples of clarinet use include Vivaldi’s 1716 oratorio Juditha triumphans, which used two C clarinets, and Handel’s 1740 Ouverture for two clarinets and a horn. In the 1750s, clarinets were added to the orchestra of La Pouplinière in Paris. Johann Stamitz wrote the first known concerto for a B♭ clarinet for the orchestra’s principal clarinetist. Johann Melchior Molter composed six clarinet concertos for a D clarinet, with the first written around 1742.

Clarinets appeared in the Mannheim orchestra under Stamitz and other orchestras by 1758, but they were not widely used until the 19th century. Wind ensembles called harmonie often included clarinets starting in the mid-1700s. Classical composers who wrote solo or duo concertos for the clarinet included Karl Stamitz and František Xaver Pokorný. The first clarinet sonata was written in 1770 by Gregorio Sciroli, a composer from Naples.

Wolfgang Amadeus Mozart first used the clarinet in 1771 in his Divertimento K. 113 and later in his 1778 Paris Symphony. From Idomeneo onward, the clarinet appeared in all of his operas, symphonies, and piano concertos. His chamber music for clarinet includes the Gran Partita, the Clarinet Quintet, and the Kegelstatt Trio. The last two were written for his friend, Anton Stadler, a skilled clarinetist, as was his Clarinet Concerto. Beethoven’s chamber music also highlights the clarinet, especially in his Quintet Op. 16, Septet Op. 20, and Trio Op. 38.

During the Classical period, the clarinet was used often, but in the Romantic era, it became a central part of orchestras. Composers like Schubert, Mendelssohn, Berlioz, Dvořák, Smetana, Brahms, Tchaikovsky, and Rimsky-Korsakov included important clarinet parts in their orchestral works. In Romantic operas, the clarinet often played expressive, lyrical melodies. The number of clarinet players in orchestras increased to three or more, with some playing the bass clarinet. Some operas, like Strauss’s Elektra, required up to eight clarinet players.

Chamber music with the clarinet became more varied over time. Franz Schubert wrote an Octet, Felix Mendelssohn composed a sonata with piano, Robert Schumann created Phantasiestücke for clarinet and piano, and Johannes Brahms wrote two sonatas, a trio with cello and piano, and a Clarinet Quintet with a string quartet. Carl Maria von Weber wrote major works for the clarinet, including two concertos and a Grand Duo Concertant for clarinet and piano. However, from 1830 to 1900, no major composers wrote clarinet concertos, and few of the ones written during this time are still performed today.

The clarinet is used often in 20th- and 21st-century classical music. It represents a cat in Peter and the Wolf by Sergei Prokofiev, and the symphonies of Shostakovich include many examples of clarinet playing. Important pieces for unaccompanied clarinet include Three Pieces (1919) by Igor Stravinsky and L'abîme des oiseaux from Quatuor pour la fin du temps (1941) by Olivier Messiaen. Concertos from this time include works by Carl Nielsen and Aaron Copland. Sonatas were written by Felix Draeseke, Max Reger, Arnold Bax, John Ireland, Francis Poulenc, Leonard Bernstein, and Paul Hindemith. Notable chamber works include Four Pieces by Alban Berg, Contrastes by Béla Bartók, The Soldier’s Tale by Stravinsky, and a Suite by Darius Milhaud.

The clarinet was a key instrument in jazz, starting with early players in the 1910s. It remained important in big band music through the 1940s. A famous clarinet moment is the glissando in George Gershwin’s Rhapsody in Blue (1924). Swing musicians like Benny Goodman and Artie Shaw became famous in the late 1930s.

From the 1940s onward, the clarinet became less central in jazz. Interest in traditional New Orleans jazz, called Dixieland, grew, and Pete Fountain became a well-known player in this style. The saxophone replaced the clarinet in many jazz ensembles because it produces a louder sound and is easier to play. However, the clarinet did not disappear. Prominent players since the 1950s include Stan Hasselgård, Jimmy Giuffre, Eric Dolphy (on bass clarinet), Perry Robinson, and John Carter. In the U.S., notable players since the 1980s include Eddie Daniels, Don Byron, Marty Ehrlich, Ken Peplowski, and others who play in traditional and modern styles.

The clarinet is not common in rock music, but it appears occasionally. Jerry Martini played clarinet on Sly and the Family Stone’s 1968 song Dance to the Music. The Beatles included three clarinets in their 1967 song When I’m Sixty-Four. A clarinet solo in Breakfast in America by Supertramp was described by a reviewer as having a "Benny Goodman-flavored" sound.

The clarinet plays an important role in folk and traditional music around the world. It is central to klezmer music, which has a unique style of playing. The Brazilian music style choro, Albanian saze, Greek kompania folk music, and Bulgarian wedding music also use the clarinet. In Turkish folk music, a type of clarinet called a "Turkish clarinet" (an Albert system clarinet in G) is commonly used.