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A♭ clarinet
Woodwind instrument
Classification

Wind → Woodwind →

Single-reed
Hornbostel–Sachs classification422.211.2–71
(Single-reeded aerophone with keys)
Playing range
{ \new Staff \with { \omit Score.TimeSignature } \clef treble \key c \major \cadenzaOn e1 ^ "written" \glissando s g''' s c' _ "sounds" \glissando s \ottava #1 es'''' }
The written range E3–G6 sounds a minor sixth higher, C4–E♭7
Related instruments
Musicians
Clarinetists
Builders
Sound sample
Béla Bartók, Scherzo (excerpt)
A♭ clarinet played by Richard Haynes
More articles or information
Clarinet family

The A-flat (A♭) clarinet is the highest-pitched instrument of the clarinet family still manufactured. It is just over half the length of the common B♭ clarinet and pitched a minor seventh higher, a perfect fourth higher than the E♭ clarinet. As a transposing instrument it sounds a minor sixth higher than written, thus the lowest written note E3 sounds as concert C4 (middle C). Around the beginning of the 19th century, several small clarinets in different pitches appeared. The A♭ clarinet was adopted in European wind bands, particularly in Italy where it has appeared in Verdi's opera banda parts and survived to the present day in military bands. It is sometimes called for in contemporary classical music, in works by composers Béla Bartók and John Tavener, and in large clarinet choir works. It is manufactured by Italian makers Ripamonti, Mario Corso, and Orsi, and in Germany by Dietz Klarinettenbau (in G), Foag Klarinetten, Herbert Wurlitzer, and Schwenk & Seggelke.

History of small clarinets

[edit]
Main articles: Clarinet § History, E-flat clarinet, and Clarinet family

The clarinets pitched higher than the C clarinet are frequently taken together as a group, variously known as the "sopranino" or "piccolo" (Shackleton, Lawson),[2][3] "high" or "little" (Tschaikov),[4] or "small" (Baines, Rice) clarinets.[5][6] They are known as piccolo in Italian, petite in French, and kleine in German, which are all words for small.[6]

The group contains clarinets built in several pitches, the largest being the sopranino clarinets in D and E♭, to the smallest in high A, B♭ and C, sometimes called octave clarinets, built an octave above the more common instruments in those keys. British organologist Albert Rice in his 2017 survey counted eleven pitches of high clarinets, but noted that while the D♭ soprano and sopraninos in E and G♭ are mentioned in literature and catalogs, no known instruments in these pitches exist in museums or private collections.[7]

Of the three highest and smallest "octave" clarinets, the A and B♭ clarinets found some use in 19th century Prussian and Russian military bands. The smallest, in C, was probably experimental, only found with simplified key work due to the tight fingering required of an instrument only 28 centimetres (11 in) long.[8] Above the E♭ sopranino clarinet and below the octave clarinets, this leaves three small clarinets, in F, G, and A♭.

The F clarinet was used mainly in military bands from around 1780 until the mid-19th century; French composer Hector Berlioz noted in his 1843 landmark Treatise on Instrumentation that it had been all but replaced by the E♭ clarinet.[9] British composer and musicologist Cecil Forsyth in his 1914 orchestration treatise associated the high clarinets with Austria, saying "Clarinets in (high) F, and even in (high) A♭ are occasionally used abroad. The latter instrument is regularly employed in the Austrian military bands."[10]

The G clarinet found some brief fame in Viennese small ensembles, particularly the Schrammelmusik of 1880s Vienna, where it gained the nickname picksüsses Hölzl, possibly Viennese slang for "fabulous matchstick". The music was originally performed by a quartet of two violins (the brothers Johann and Josef Schrammel), a contraguitar, and the G clarinet played by Georg Dänzer. It was first recorded by players of the Vienna Philharmonic, with principal clarinet Richard Schönhofer playing the high G clarinet, after the original parts were found in the 1960s.[11]

The A♭ clarinet first appeared in the early 19th century and was adopted mainly by European wind bands. It survived in military bands, particularly in Spain and Italy at least through the middle of the 20th century.[11] In Italy, particularly in band scores, the terms sestino and occasionally settimino referred to the A♭ clarinet, the pitch being a sixth or seventh above the C or B♭ clarinets, respectively.[12] In some manuscripts, a clarinet with the term Alafà indicated the piccolo in A♭.[13] It has found a niche in contemporary art music and clarinet choirs, and the A♭ and G clarinets are the only sizes of clarinet higher than the E♭ sopranino still manufactured.[1]

Construction

[edit]
Main article: Clarinet § Construction
Size comparison, left to right: A♭, E♭, and B♭ clarinet
Reeds, left to right: B♭, E♭, and A♭ clarinet

The A♭ clarinet is just over half the length of the common B♭ clarinet, at around 360 millimetres (14 in) in length.[14] Its small size requires more compact key work, and is usually constructed with a one-piece body that combines the separate upper and lower joints and the barrel found on larger clarinets.[15] The bell and mouthpiece remain separate pieces.[16]

Several manufacturers produce A♭ clarinets: Italian makers L. A. Ripamonti, Mario Corso, and Orsi, and in Germany, Foag Klarinetten, Herbert Wurlitzer, and Schwenk & Seggelke; German maker Dietz Klarinettenbau also produce a clarinet in G.[1] French-American maker Leblanc made A♭ clarinets until at least the 1980s.[17] Ripamonti, Foag, Wurlitzer and Schwenk & Seggelke produce A♭ clarinets with both German and French system key work, and the German makers also make German system G clarinets.

Repertoire

[edit]

The A♭ clarinet initially found its widest use in 19th century European wind and military band music.[18] Italian opera composers wrote for the instrument in the stage band parts in their operas, for example Gaetano Donizetti's Alfredo il grande (1823), and Giuseppe Verdi's Ernani (1844), La traviata (1853), and Un ballo in maschera (1859).[19][20]

The A♭ clarinet has appeared occasionally in 20th-century music. Béla Bartók wrote for it in his 1905 Scherzo for Piano and Orchestra op. 2 ("mostly in unison with the E♭ or piccolo [flute]").[21][22] Dutch composer Matthijs Vermeulen's Fourth Symphony, published in 1941, includes a part for A♭ clarinet, as does the 1969 A Celtic Requiem by English choral composer John Tavener.[23][24] German avant-garde composer Hans-Joachim Hespos uses the A♭ clarinet in his 1972 large orchestral work, Interactions.[25] Several of his chamber works also employ the A♭ clarinet; his 1978 work go also includes soprano sarrusophone, heckelphone, and tárogató.[26] Canadian composer Samuel Andreyev includes A♭ "piccolo clarinet" in his chamber works Vérifications (2012) and Iridescent Notation (2017).[27][19]

The A♭ clarinet is sometimes used in clarinet choir arrangements, including several by French-American composer Lucien Cailliet, though the instrument is often optional or cued in other voices.[28][29]

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

A-flat clarinet

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from Grokipedia
The A-flat clarinet, also known as the sopranino clarinet or piccolo clarinet, is the smallest and highest-pitched standard member of the , a single-reed approximately 9 to 14 inches in length. It is a that sounds sixth higher than the written pitch, with a typical written range from to G6 (sounding from C4 to E♭7), utilizing the same Boehm fingering system as the soprano clarinets in B♭ and A. Characterized by its bright, piercing, and sometimes shrill , it provides a distinctive high-register voice in ensembles. Developed in the early as part of the expanding , the A-flat clarinet (German: Sextklarinette; Italian: clarinetto sestina) emerged primarily for use in European bands, where it added piercing upper harmonics to ensembles. Historical inventories, such as that of the Regiment in 1800, document its inclusion alongside other high clarinets like the E♭ model, indicating adoption in contexts by the early . In , it was particularly associated with bandmasters and musicians, as seen in 19th-century South African performances by Italian clarinetist Vinceslao Bonicoli, who featured it in a solo arrangement of Bellini's during a 1866 concert. Although rare in modern orchestras—where the E♭ often suffices for high parts—the A-flat persists in certain wind bands, choirs, and compositions requiring extreme upper registers, such as works by Hans-Joachim Hespos. Manufacturers like Leblanc produced models into the late , often with combined upper and lower joints similar to the E♭ for ; contemporary manufacturers, particularly in , continue limited production as of 2025, though it remains an uncommon instrument outside specialized Italian military traditions.

History

Origins in the 19th century

The emerged in the early as a high-pitched variant within the expanding , building on the foundational modifications to the made by Christoph Denner in the late 17th and early 18th centuries. This smaller instrument was crafted to produce a brighter, more penetrating suitable for ensemble settings, distinguishing it from larger models like the standard B-flat clarinet. An anonymous example, possibly pitched in A-flat or G and featuring a basic three-key system, dates to circa 1810 and is preserved in the in , representing one of the earliest documented prototypes. Key developments occurred in French and German workshops around 1820–1830, where instrument makers adapted the conventional five-key system of earlier clarinets to accommodate the A-flat's higher pitch and conical bore proportions. The innovations of Iwan Müller, who patented a 13-key system in 1812 to enhance intonation through repositioned tone holes and improved key mechanisms, directly influenced these early high-pitched models by providing better chromatic coverage and register transitions. By the mid-19th century, A-flat clarinets typically incorporated 11–13 keys, addressing persistent intonation issues in the upper partials and facilitating more reliable overblowing to the register. Positioned in pitch between the and smaller piccolo variants, the A-flat clarinet (known as Sextklarinette in German and clarinetto sestino in Italian) was engineered for its compact form and sharp tonal projection in group performances. Its development was spurred by the growing need for portable, high-volume woodwinds in European and marching bands, where it could compete acoustically with instruments during outdoor settings. Initial models offered a written range from e to c'''', which was later extended downward and upward through refinements in bore design and keywork.

Adoption in military and wind bands

The A-flat clarinet gained prominence in European and bands during the mid-19th century, particularly in , , and , where its bright and penetrating tone proved effective for outdoor performances. Documented as early as in Italian bands, it was adopted more widely around 1840–1860, providing a shrill, high-range that enhanced ensemble balance in large formations, often serving as a voice in woodwind sections. In , bandmaster contributed to the development of small clarinets through his work on military ensembles in the 1840s and 1850s, which aimed to standardize instrumentation and improve tonal variety in wind bands. These efforts influenced bands and broader European trends in wind ensemble evolution during the period, with similar adoption occurring in Italian and Spanish military bands. Regional variations persisted into the , with the instrument maintaining a stronger presence in Spanish and Italian banda traditions than elsewhere in . In , it appeared in military marches through the early , valued for its piercing quality in festive and ceremonial music. Spanish wind bands similarly retained it for traditional , contrasting its decline in orchestral contexts. Following , the A-flat clarinet largely phased out of general use in favor of the more versatile , which offered a less extreme while fulfilling similar high-register roles. However, it endured in select traditional European ensembles, with some band compositions continuing to specify A-flat parts for authenticity in historical or regional performances.

Design and construction

Physical features and dimensions

The A-flat clarinet measures approximately 30 to 35 cm in overall length, rendering it just over half the size of the standard B♭ , which typically spans about 60 to 70 cm. This compact form often features combined upper and lower joints into a single piece for practicality, similar to the E♭ clarinet, and comprises the conventional five principal components—mouthpiece, barrel, upper/lower joint assembly, and bell—all proportionally reduced in scale to support the instrument's elevated pitch while maintaining structural integrity. The bore is predominantly cylindrical with a subtle taper toward the bell, featuring tone holes of reduced size relative to those on lower-pitched clarinets, which contributes to its precise intonation across the higher register. The instrument's compass extends from the written to G6 (sounding C4 to E6), encompassing approximately three octaves and enabling a full suited to its soprano extension. Its keywork employs either the Boehm or Oehler fingering system, modified for the constrained dimensions, typically incorporating 17 to 20 keys—including a register key—and an articulated G♯/E♭ mechanism to facilitate fluid chromatic passages without excessive finger stretching. Compared to other family members, the A-flat clarinet's elevated A♭ pitch yields a brighter, more strident than the E♭ clarinet, though remain largely analogous aside from the diminished scale.

Materials and manufacturing

The A-flat clarinet is traditionally constructed from grenadilla wood () for its body, valued for its density and acoustic properties that contribute to a clear, resonant tone. The keys are typically made of , either silver-plated or nickel-plated for corrosion resistance and smooth action, while leather pads ensure airtight seals on the tone holes. or hard rubber serves as an alternative body material in some models, offering greater and resistance to environmental changes, though it is less common for professional A-flat instruments due to tonal preferences for wood. Since the 2017 listing of grenadilla under Appendix II, which regulates to prevent , manufacturers have increasingly turned to synthetic grenadilla substitutes or alternative hardwoods like to maintain supply while complying with conservation rules. Plastic models using ABS resin exist for student use, providing affordability and low maintenance, but they remain rare for the A-flat given its niche status. Contemporary production is limited to a handful of specialized makers, emphasizing handcraftsmanship in small workshops. Italian firms such as [L.A.](/page/L(a) Ripamonti and Orsi produce wooden Boehm-system models, focusing on precision turning and hand-finishing for optimal intonation. German manufacturers like Herbert , Foag Klarinetten, and Schwenk & Seggelke offer both Boehm and Oehler (German) systems, often using aged grenadilla or alternatives, with each instrument assembled by hand to ensure unique tonal character. The rarity of demand results in low-volume output, making these clarinets challenging to source outside custom orders. Accessories are similarly specialized, with Vandoren providing mouthpieces like the CM360 series in and reeds in the Traditional line, designed for the instrument's smaller bore and brighter . Sourcing remains difficult due to limited production and market size, often requiring direct contact with makers.

Notation and performance

Transposition and fingering system

The is a pitched in A♭, such that a written C sounds as A♭, a higher than the notated pitch. Parts are typically notated in the key of C, which requires performers familiar with the B♭ or A —transposing at a major second or , respectively—to adapt their reading and transposition habits when switching instruments. The fingering system follows the standard Boehm mechanism used across soprano clarinets, with identical fingerings to the B♭ clarinet for any given written note, as the keywork layout corresponds directly to the notated pitch regardless of the instrument's overall length or fundamental tone. However, the A-flat clarinet's shorter bore and higher pitch produce a brighter with altered structure compared to the B♭ model, and its compact size results in narrower key spacing that demands precise finger placement. To access the clarion register, players overblow using the register key, which vents air to raise the pitch by a perfect twelfth (12 semitones) from the chalumeau register, a mechanism common to all Boehm-system clarinets. The altissimo register extends beyond the standard range through techniques such as throat tones (adjusting the oral cavity while maintaining basic fingerings) or side-key vents, enabling notes up to written f⁶ or higher with practice. Notation for the A-flat clarinet employs the treble clef, aligning with conventions for soprano clarinets, though its rarity in contemporary scores often leads to cues derived from E♭ clarinet parts for orchestral integration. In extreme high passages, scores may occasionally incorporate piccolo-style notation, such as 8va lines, to accommodate the instrument's piercing upper register.

Technique and challenges

Playing the A-flat clarinet demands specialized adjustments due to its diminutive mouthpiece, which is significantly smaller than that of the B-flat clarinet and requires a tighter formation to achieve a stable tone, akin to the demands of the . This tighter must remain flexible, loosening slightly in the register for warmth and tightening in the clarion and ranges to control pitch and focus the sound. Reed setup further accentuates these requirements, with Vandoren reeds in strengths of 2 to 3 recommended, as their faster vibration rate—owing to the instrument's higher pitch—necessitates precise air support to prevent squeaking or instability. Intonation presents notable challenges on the A-flat clarinet, particularly a tendency toward sharpness in the register stemming from its narrow bore, which alters compared to larger clarinets. Players address this through tuning adjustments such as pulling the barrel up to 4-5 mm to lower the overall pitch, alongside reed scraping or subtle variations for fine-tuning specific notes like chalumeau C-sharp to A440. The instrument's erratic tuning across registers often requires creative alternative fingerings, especially in the , where notes can veer sharp without vigilant breath control. Ergonomically, the A-flat clarinet's compact dimensions—roughly two-thirds the length of a B-flat model—accommodate smaller hands effectively but can strain larger ones, with key spacing that may cause the right pinky to inadvertently strike the bell rather than the intended keys. Additionally, the limited air capacity inherent to its small bore challenges sustained high notes, demanding efficient techniques and rapid, focused airstreams to maintain projection without cracking. Practice adaptations for the A-flat clarinet frequently involve doubling on the closely related to build familiarity with high-register demands, as the two share similar transposition and size considerations. Exercises emphasize control through slow scales and long tones at varied dynamics, enabling a functional range from pianissimo to fortissimo, though the instrument's inherently narrow and nasal timbre limits extremes compared to the B-flat clarinet. Etudes like Baermann scales, practiced deliberately to navigate the compressed , help develop the precision needed for its agile yet unforgiving response.

Repertoire and usage

Historical compositions

The A-flat featured prominently in 19th- and early 20th-century band and march repertoire, especially within Italian and European ensembles, where it provided piercing high-register melodies and harmonic support. Historical instrumentation for such bands often included the A-flat alongside standard B-flat and E-flat models to enhance the ensemble's tonal range and agility in outdoor performances. A study of 19th-century band repertory its regular appearance in and civic groups, contributing to the instrument's adoption in works emphasizing rapid articulation and brilliant . Key examples include Amilcare Ponchielli's marches, such as Marcia Funebre No. 1 (ca. 1870s), where the A-flat clarinet is specified in the woodwind section for melodic lines, though later adaptations sometimes substituted a D-flat . Adaptations of Rossini overtures for wind ensembles, common in 19th-century band settings, also utilized the instrument for its ability to handle florid passages in keys favoring flats. The A-flat clarinet appeared in operatic banda scenes and military etudes, with composers like Ponchielli employing it in band excerpts from operas such as La Gioconda (1876) to depict festive or dramatic episodes. Other notable historical uses include Giuseppe Verdi's operas and Béla Bartók's Scherzo for Piano and Orchestra, Op. 2 (1904). In historical scores, the instrument was typically notated as "clarinetto piccolo in A♭," distinguishing it from the more common E-flat piccolo clarinet.

Modern and ensemble applications

In , the A-flat clarinet appears sporadically, often to achieve piercing high-register effects or as part of extended clarinet ensembles. Composer incorporated it into his Celtic Requiem (1969), where it contributes to the work's ethereal and ritualistic texture alongside , choir, and orchestra. Similarly, specified the instrument in certain symphonic passages, drawing on its bright, -like for dramatic color. The A-flat clarinet finds a more consistent role in clarinet choirs, where it serves as the highest-pitched voice to expand the ensemble's range and facilitate arrangements of orchestral or band literature. Ensembles such as the Northwest Clarinet Choir regularly feature it in performances, including variations in works like Paul Harvey's The Young Person's Guide to the Clarinet Choir, highlighting its agile, piccolo-like capabilities. Modern revivals of historical band music in and also employ the instrument, particularly in banda sections of operas by and Rossini, sustaining its presence in European wind traditions. Notable performers include clarinetist Jenny Maclay, who has recorded and performed on the A-flat clarinet in choir settings and historical marches, often using models from manufacturers like Orsi and Schwenk & Seggelke. Other specialists, such as those endorsed by Italian maker Orsi, demonstrate it in band contexts across . The instrument appears at international events, including International Clarinet Association conferences, where auxiliary clarinets like the A-flat are showcased in recitals and workshops. Since the early 2000s, interest in the A-flat clarinet has grown through practices, prompting revivals of 19th- and early 20th-century band repertoire. It remains more accessible in , where it can be rented or purchased from specialized makers, though its use in U.S. orchestras is uncommon outside niche chamber or educational contexts.

References

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  7. https://www.clarinetsdirect.net/store/p92/Leblanc-Clarinet.html
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  9. https://clarinet.insightful.design/wp-content/uploads/2022/10/VOL17N3-MAY-JUNE1990_Compress.pdf
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  17. https://www.adams-music.com/en/clarinet/what-types-of-wood-are-clarinets-made-from
  18. https://www.musicarts.com/a-clarinets
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  22. https://musicmall.hu/gb/1416-ripamonti-clarinet
  23. https://orsiwind.wixsite.com/wind-instruments/blank-3
  24. https://wurlitzerklarinetten.de/?lang=en
  25. https://musik-foag.de/en/hohe-klarinetten/
  26. https://vandoren.fr/en/vandoren-mouthpieces/ab-clarinet-mouthpiece/
  27. https://vandoren.fr/en/vandoren-reeds/traditional-ab-clarinet-reeds/
  28. https://dn790007.ca.archive.org/0/items/profhklingsmoder00klinuoft/profhklingsmoder00klinuoft.pdf
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  31. https://www.wfg.woodwind.org/clarinet/
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  34. http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=273897&t=273897
  35. https://www.dansr.com/resources/all-about-the-a-flat-piccolo-clarinet
  36. https://repository.lib.fsu.edu/islandora/object/fsu:291344
  37. https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1182&context=musicstudent
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  39. https://www.nwclarinetchoir.org/about.html
  40. https://clarinet.org/ica-plays-resources-list-auxiliary-clarinets/
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