All clarinets have approximately the same written range. The sounding pitch depends on what key the instrument is in. Low clarinets generally have extra keys to extend the range downward.
Theclarinet is asingle-reed musical instrument in thewoodwind family, with a nearly cylindricalbore and a flared bell.
Clarinets comprise afamily of instruments of differing sizes and pitches. Theclarinet family is the largest woodwind family, ranging from theBB♭ contrabass to theA♭ piccolo. The B♭soprano clarinet is the most common type, and is the instrument usually indicated by the word "clarinet".
German instrument makerJohann Christoph Denner is generally credited with inventing the clarinet sometime around 1700 by adding aregister key to thechalumeau, an earlier single-reed instrument. Over time, additional keywork and airtight pads were added to improve the tone and playability. Today the clarinet is a standard fixture of theorchestra andconcert band and is used inclassical music,military bands,klezmer,jazz, and other styles.
Etymology
The word "clarinet" may have entered the English language via the Frenchclarinette (the feminine diminutive ofOld Frenchclarin), or fromProvençalclarin'oboe',[1] originating from the Latin rootclarus'clear'.[2] The word is related toMiddle Englishclarion, a type of trumpet, the name of which derives from the same root.[3]
The earliest mention of the word "clarinette" being used for the instrument dates to a 1710 order placed by the Duke of Gronsfeld for two instruments made byJacob Denner.[4][5] The English form "clarinet" is found as early as 1733, and the now-archaic "clarionet" appears from 1784 until the early 20th century.[6][7]
The modern clarinet developed from aBaroque instrument called thechalumeau. This instrument was similar to arecorder, but with a single-reed mouthpiece and a cylindrical bore. Lacking aregister key, it was played mainly in its fundamental register, 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 this time, contrary to modern practice, the reed was placed in contact with the upper lip.[9]Around the beginning of the 18th century the German instrument makerJohann Christoph Denner (or possibly his son Jacob Denner)[10] equipped a chalumeau in the alto register[11] with two keys, one of which enabled access to a higher register. This second register did not begin an octave above the first, as with other woodwind instruments, but started an octave and a perfect fifth higher than the first. A second key, at the top, extended the range of the first register to A4 and, together with the register key, to B♭4. Later, Denner lengthened the bell and provided it with a third key to extend the pitch range down to E3.[10]
The number of keys was limited because their felt pads did not seal tightly.Iwan Müller invented the stuffed pad, originally made ofkid leather. These in combination with countersunk tone holes sealed the keyholes sufficiently to permit the use of an increased number of keys. In 1812 Müller presented a clarinet with seven finger holes and thirteen keys, which he called "clarinet omnitonic" since it was capable of playing in all keys. It was no longer necessary to use differently tuned clarinets for different keys.[12] Müller is also considered the inventor of the metalligature and thethumb rest.[16] During this period the typical embouchure also changed, orienting the mouthpiece with the reed facing downward. This was first recommended in 1782 and became standard by the 1830s.[17]
In the late 1830s,[18] German flute makerTheobald Böhm invented aring and axle key system for the flute. This key system was first used on the clarinet between 1839 and 1843 by French clarinetistHyacinthe Klosé in collaboration with instrument makerLouis Auguste Buffet. Their design introduced needle springs for the axles, and the ring keys simplified some complicated fingering patterns. The inventors called this theBoehm clarinet, although Böhm was not involved in its development and the system differed from the one used on the flute.[18][4] Other key systems have been developed, many built around modifications to the basic Boehm system, including the Full Boehm,Mazzeo, McIntyre,[19] the Benade NX,[20] and theReform Boehm system, which combined Boehm-system keywork with a German mouthpiece and bore.[21]
TheAlbert clarinet was developed byEugène Albert in 1848. This model was based on the Müller clarinet with some changes to keywork, and was also known as the "simple system".[22] It included a "spectacle key" patented byAdolphe Sax and rollers to improve little-finger movement. After 1861, a "patent C sharp" key developed by Joseph Tyler was added to other clarinet models.[23] Improved versions of Albert clarinets were built in Belgium and France for export to the UK and the US.[24]
Around 1860, clarinettistCarl Baermann and instrument maker Georg Ottensteiner developed the patented Baermann/Ottensteiner clarinet. This instrument had new connecting levers, allowing multiple fingering options to operate some of the pads.[25] In the early 20th century, the German clarinetist and clarinet maker Oskar Oehler presented a clarinet using similar fingerings to the Baermann instrument, with significantly more toneholes than the Böhm model.[12] The new clarinet was called theOehler system clarinet or German clarinet, while the Böhm clarinet has since been called the French clarinet.[26] The French clarinet differs from the German not only in fingering but also in sound.Richard Strauss noted that "French clarinets have a flat, nasal tone, while German ones approximate the singing voice".[27] Among modern instruments the difference is smaller, although intonation differences persist.[26] The use of Oehler clarinets has continued in German and Austrian orchestras.[12][28]
Today the Boehm system is standard everywhere except in Germany and Austria, where the Oehler clarinet is still used.[29] Some contemporary Dixieland players continue to use Albert system clarinets.[12][30] The Reform Boehm system is also popular in the Netherlands.[31]
Clarinets with different arrangements of keys and holes
Oehler clarinet with a cover on the middle tone hole of the lower joint, dev. 1905 by Oscar Oehler, and with bell mechanism added later to improve deep E and F
Standard German clarinet without cover or bell mechanism.
The clarinet'scylindrical bore is the main reason for its distinctivetimbre, which varies between the three mainregisters (thechalumeau,clarion, andaltissimo). The A and B♭ clarinets have nearly the same bore and nearly identical tonal quality, although the A typically has a slightly warmer sound.[32] The tone of theE♭ clarinet is brighter and can be heard through loud orchestral textures.[33] Thebass clarinet has a characteristically deep, mellow sound, and thealto clarinet sounds similar to the bass, though not as dark.[34]
Sound wave propagation in the soprano clarinet
The production of sound by a clarinet follows these steps:[35][36][4]
The mouthpiece and reed are surrounded by the player's lips, which put light, even pressure on the reed and form an airtight seal.[37] Air is blown past the reed and down the instrument. In the same way a flag flaps in the breeze, the air rushing past the reed causes it to vibrate. As air pressure from the mouth increases, the amount the reed vibrates increases until the reed hits the mouthpiece. The reed stays pressed against the mouthpiece until either the springiness of the reed forces it to open or a returning pressure wave 'bumps' into the reed and opens it. Each time the reed opens, a puff of air goes through the gap, after which the reed swings shut again. When played loudly, the reed can spend up to 50% of the time shut.[38] The 'puff of air' orcompression wave (at around 3% greater pressure than the surrounding air[35]) travels down the cylindrical tube and escapes at the point where the tube opens out. This is either at the closest open hole or at the end of the tube (see diagram: image 1).
More than a 'neutral' amount of air escapes from the instrument, which creates a slight vacuum orrarefaction in the clarinet tube. This rarefaction wave travels back up the tube (image 2).
The rarefaction is reflected off the sloping end wall of the clarinet mouthpiece. The opening between the reed and the mouthpiece makes very little difference to the reflection of the rarefaction wave. This is because the opening is very small compared to the size of the tube, so almost the entire wave is reflected back down the tube even if the reed is completely open at the time the wave hits (image 3).
When the rarefaction wave reaches the other (open) end of the tube, air rushes in to fill the slight vacuum. A little more than a 'neutral' amount of air enters the tube and causes a compression wave to travel back up the tube (image 4). Once the compression wave reaches the mouthpiece end of the 'tube', it is reflected again back down the pipe. However at this point, either because the compression wave 'bumped' the reed or because of the natural vibration cycle of the reed, the gap opens and another 'puff' of air is sent down the pipe.
The original compression wave, now greatly reinforced by the second 'puff' of air, sets off on another two trips down the pipe (travelling four pipe lengths in total) before the cycle is repeated again.[35]
In addition to this primary compression wave, other waves, known asharmonics, are created. Harmonics are caused by factors including the imperfect wobbling and shaking of the reed, the reed sealing the mouthpiece opening for part of the wave cycle (which creates a flattened section of the sound wave), and imperfections (bumps and holes) in the bore. A wide variety of compression waves are created, but only some (primarily the odd harmonics) are reinforced.[39][4] This in combination with the cut-off frequency (where a significant drop in resonance occurs) results in the characteristic tone of the clarinet.[4]
Thebore iscylindrical for most of the tube with an inner bore diameter between 0.575 and 0.585 inches (14.6 and 14.9 mm), but there is a subtlehourglass shape, with the thinnest part below the junction between the upper and lower joint.[40] This hourglass shape, although invisible to the naked eye, helps to correct the pitch and responsiveness of the instrument.[40] The diameter of the bore affects the instrument's sound characteristics.[4] The bell at the bottom of the clarinet flares out to improve the tone and tuning of the lowest notes.[35] Modern standard clarinets aretuned to 440 to 442Hz—concert pitch is 440 Hz—but adjusting the length of the bore can alter tuning, for example to match the pitch of a larger ensemble. Other factors that impact tuning include temperature anddynamics.[41][42][43]
Most modern clarinets have "undercut"tone holes that improve intonation and sound. Undercutting meanschamfering the bottom edge of tone holes inside the bore. Acoustically, this makes the tone hole function as if it were larger, but its main function is to allow the air column to follow the curve up through the tone hole (surface tension) instead of "blowing past" it under the increasingly directional frequencies of the upper registers.[44] Covering or uncovering the tone holes varies the length of the pipe, changing theresonant frequencies of the enclosed air column and hence thepitch. The player moves between the chalumeau and clarion registers through use of theregister key. The open register key stops the fundamental frequency from being reinforced, making the reed vibrate at three times the frequency, which produces a note a twelfth above the original note.[35]
The fixed reed and fairly uniform diameter of the clarinet result in an acoustical performance approximating that of a cylindricalstopped pipe.[35]Recorders use a tapered internal bore tooverblow at theoctave when the thumb/register hole is pinched open, while the clarinet, with its cylindrical bore, overblows at thetwelfth.[35] The low chalumeau register plays fundamentals, but the clarion (second) register plays the third harmonics, a perfect twelfth higher than the fundamentals.[35][36] The first several notes of the altissimo (third) range, aided by the register key and venting with the first left-hand hole, play the fifth harmonics, a perfect twelfth plus a major sixth above the fundamentals.[35][4] The fifth and seventh harmonics are also available, sounding a furthersixth andfourth (a flat, diminished fifth) higher respectively; these are the notes of the altissimo register.[35]
The lip position and pressure, shaping of the vocal tract, choice of reed and mouthpiece, amount of air pressure created, and evenness of the airflow account for most of the player's ability to control the tone of a clarinet.[45] Their vocal tract will be shaped to resonate at frequencies associated with the tone being produced.[46]
Mouthpiece with conical ring ligature, made from hard rubber, holding the reed in place
Clarinet bodies have been made from a variety of materials including wood, plastic, hard rubber orEbonite, metal, andivory.[51] The vast majority of wooden clarinets are made fromAfrican blackwood (grenadilla), or, more uncommonly,Honduran rosewood,cocobolo, ormopane.[52][53][54] Historically other woods, particularlyboxwood andebony, were used.[52] Since the mid-20th century, clarinets (particularly student or band models) are also made from plastics, such asacrylonitrile butadiene styrene (ABS).[55][56] One of the first such blends of plastic was Resonite, a term originally trademarked bySelmer.[57][58] The Greenline model byBuffet Crampon is made from acomposite of resin and the African blackwood powder left over from the manufacture of wooden clarinets.[59][60]Metal soprano clarinets were popular in the late 19th century, particularly for military use. Metal is still used for the bodies of some contra-alto and contrabass clarinets and the necks and bells of nearly all alto and larger clarinets.[61][62]
Mouthpieces are generally made of hard rubber, although some inexpensive mouthpieces may be made of plastic. Other materials such as glass, wood, ivory, and metal have also been used.[63]Ligatures are often made of metal and tightened using one or more adjustment screws; other materials include plastic, string, or fabric.[64]
Reed
The clarinet uses a singlereed made from the cane ofArundo donax.[65][66] Reeds may also be manufactured from synthetic materials.[67] Theligature fastens the reed to the mouthpiece. When air is blown through the opening between the reed and the mouthpiece facing, the reed vibrates and produces the clarinet's sound.[68]
Most players buy manufactured reeds, although many make adjustments to these reeds, and some make their own reeds from cane "blanks".[69] Reeds come in varying degrees of hardness, generally indicated on a scale from one (soft) through five (hard). This numbering system is not standardized—reeds with the same number often vary in hardness across manufacturers and models. Reed and mouthpiece characteristics work together to determine ease of playability and tonal characteristics.[70]
The reed is attached to the mouthpiece by the ligature, and the top half-inch or so of this assembly is held in the player's mouth. In the past, string was used to bind the reed to the mouthpiece. The formation of the mouth around the mouthpiece and reed is called theembouchure. The reed is on the underside of the mouthpiece, pressing against the player's lower lip, while the top teeth normally contact the top of the mouthpiece (some players roll the upper lip under the top teeth to form what is called a 'double-lip' embouchure).[71] Adjustments in the strength and shape of the embouchure change the tone and intonation. Players sometimes relieve the pressure on the upper teeth and inner lower lip by attaching a pad to the top of the mouthpiece or putting temporary cushioning on the lower teeth.[72]
The mouthpiece attaches to the barrel. Tuning can be adjusted by using barrels of varying lengths or by pulling out the barrel to increase the instrument's length.[4][73] On basset horns and lower clarinets, there is a curved metal neck instead of a barrel.[74]
The main body of most clarinets has an upper joint, whose mechanism is mostly operated by the left hand, and a lower joint, mostly operated by the right hand.[4] Some clarinets have a one-piece body.[4] The modern soprano clarinet has numeroustone holes—seven are covered with the fingertips and the rest are operated using a set of 17 keys.[4] The most common system of keys was named theBoehm system by its designerHyacinthe Klosé after flute designerTheobald Boehm, but it is not the same as theBoehm system used on flutes.[18] The other main key system is theOehler system, which is used mostly in Germany and Austria.[12] The relatedAlbert system is used by somejazz,klezmer, and eastern European folk musicians.[12] The Albert and Oehler systems are both based on the earlyMueller system.[12]
The cluster of keys at the bottom of the upper joint (protruding slightly beyond the cork of the joint) are known as the trill keys and are operated by the right hand.[75] The entire weight of the smaller clarinets is supported by the right thumb behind the lower joint on what is called thethumb rest.[76] Larger clarinets are supported with a neck strap or a floor peg.[77]
Below the main body is a flared end known as the bell. The bell does not amplify the sound but improves the uniformity of the instrument's tone for the lowest notes in each register.[35] For the other notes, the sound is produced almost entirely at the tone holes, and the bell is irrelevant.[35] Onbasset horns and larger clarinets, the bell curves up and forward and is usually made of metal.[74]
In the 1930s, some clarinets were manufactured with (filled) plateau keys,[78] but they were expensive and had issues with sound quality. They were designed for use in cold weather (allowing gloves to be worn), for saxophone or flute players, and for players with certain physical requirements.[79]
Clarinets have the largest pitchrange of common woodwinds.[80] The range of a clarinet is usually divided into three registers. The lowchalumeau register extends from the notated E3 (C3 if available) to the notated B♭4. The middle clarion register covers a little more than an octave (from the written B4 to C6). The highaltissimo register consists of the notes above it.[81] The three registers have characteristically different sounds: the chalumeau is full and dark, the clarion register is brighter and sweet, like a high trumpet from a distance, and the altissimo can be piercing and sometimes shrill.[82][83]
Initially only C clarinets were available, but soon clarinets in B♭ and A and the basset horn in F and G were developed. From the 19th century to the middle of the 20th century, an extensive family of clarinets developed, from high A♭ to subcontrabass. Apart from the clarinets tuned in C (C soprano clarinet and basset clarinet in C), all clarinets aretransposing instruments. The instruments above the C clarinet sound higher than notated, such as the aforementioned A♭ clarinet a sixth higher, the longer instruments sound lower, such as the B♭ clarinet by one tone and the B♭ contrabass clarinet by two octaves and one tone.
The A♭ clarinet is the highest-pitched clarinet still manufactured.[84] It was used in 19th-century European military bands and in the on-stagebanda ofItalian opera, and is occasionally called for in20th-century and contemporary orchestral and chamber works.[85][86] The G was used forSchrammelmusik and is still made by German manufacturers.
The E-flat (E♭) clarinet is smaller than the more commonB♭ clarinet. It has a characteristic "hard and biting" tone and is used in the orchestra when a brighter, or sometimes more comical, sound is called for.[87] It is used in orchestras, concert bands, and marching bands, and plays a central role in clarinet choirs, carrying melodies that would be uncomfortably high for the B♭ clarinet.[citation needed] Solo repertoire is limited, but composers from Berlioz to Mahler have used it extensively as a solo instrument in orchestral contexts.[87]
This clarinet was very common in the instrument's earliest period but its use dwindled, and by the end of the 1920s it had become practically obsolete. From the time ofMozart, many composers began to prefer the mellower lower-pitched instruments, and the timbre of the C instrument may have been considered too bright.[89] To avoid having to carry an extra instrument that required another reed and mouthpiece, orchestral players preferred to play parts for this instrument on B♭ clarinets, transposing up a tone.[90]
The basset clarinet is usually in A, though instruments have been built in C, G and B♭.[94][95] It is used primarily to play Classical-era music, particularly Mozart'sClarinet Concerto.[94][96] Basset clarinets with modern keywork have been built since 1951 forhistorically informed performances.[97]
C3 – C7
A2 – A6 (in A)
Mayr,Gloria Patri (played on a basset clarinet in G)
The basset horn is typically in F. Modern instruments resemble the E♭ alto clarinet but have a narrower bore closer to the B♭ clarinet.[98] Mozart's clarinet concerto (K. 584b/621b) was originally sketched for a basset horn in G; hisRequiem is "a cornerstone of the basset horn repertoire", and he included it in several operas andchamber pieces. Little other material for basset horn has been published.[99][14]
Sometimes referred to as the tenor clarinet in Europe, mainly used in military and concert bands and rarely in orchestras.[100][101][102] The alto in F was used in early 19th-century military bands and was a favorite instrument ofIwan Müller before falling out of use.[103] If called for, it is commonly substituted with the basset horn.[103] The range is usually to the standard low E, but sometimes has keys to low E♭ or D.[104][105]
Developed in the late 18th century, the bass clarinet began featuring in orchestral music in the 1830s after its redesign byAdolphe Sax.[106] It has since become a mainstay of the modern orchestra.[107] It is also used in concert bands and enjoys (along with the B♭ clarinet) a considerable role in jazz, especially through jazz musicianEric Dolphy.[108][30] Modern instruments have keys to at least low E♭ and usually to C.[109]
The first contra-alto clarinet was made in F by the German maker Streitwolf in 1829.[110] Modern instruments withBoehm andOehler fingering were developed in 1950s with keys to low E♭ (sometimes C) and primarily used in concert bands and occasionally film scores.[111][62]
A prototype octocontrabass clarinet, one octave lower than the contrabass, was built by Leblanc in 1939 with keys to low D (sounding C0) and survives in theMusée des Instruments à vent [fr].[114][115] In 2025, the German maker Martin Foag introduced an octocontrabass with keys to low C (sounding B♭-1).[116]
Subcontrabass clarinets by Leblanc 1939 and Foag 2025
Performance practice
The modern orchestra frequently includes two clarinetists, each usually equipped with a B♭ and an A clarinet, and clarinet parts commonly alternate between the instruments.[92] The standard of using soprano clarinets in B♭ and A has to do partly with the history of the instrument and partly with acoustics and aesthetics.[92] Before about 1800, due to the lack of airtight pads, practical woodwinds could have only a few keys.[12] The low (chalumeau) register of the clarinet spans a twelfth (an octave plus a perfect fifth) before overblowing, so the clarinet needs keys/holes to produce all nineteen notes in this range. This involves more keywork than on instruments that "overblow" at the octave—oboes, flutes,bassoons, and saxophones need only twelve notes before overblowing. Since clarinets with few keys cannot play chromatically, they are limited to playing in closely related keys.[117] With the advent of airtight pads and improved key technology, more keys were added to woodwinds and the need for clarinets in multiple keys was reduced.[12] The use of instruments in C, B♭, and A persisted, with each used as specified by the composer.[89]
The lower-pitched clarinets sound "mellower" (less bright), and the C clarinet—the highest and brightest sounding of these three—fell out of favor as the other two could cover its range and their sound was considered better.[117] While the clarinet in C began to fall out of general use around 1850, some composers continued to write C parts. Others employed many different clarinets, including the E♭ or D soprano clarinets,basset horn,bass clarinet, andcontrabass clarinet. The practice of using different clarinets to achieve tonal variety was common in20th-century classical music.[87][107][92] While technical improvements and an equal-tempered scale reduced the need for two clarinets, the technical difficulty of playing in remote keys persisted, and the A has remained a standard orchestral instrument.[12]
Common combinations involving clarinet inchamber music are:
Clarinet quartet: three B♭ clarinets andbass clarinet; two B♭ clarinets,alto clarinet, and bass; two B♭, an E♭ alto clarinet, and a B♭ bass clarinet; sometimes four B♭ sopranos; and other possibilities such as the use of abasset horn, especially in European classical works.[120][74][121]
The A♭ clarinet, B♭ clarinet, alto clarinet, bass clarinet, and contra-alto/contrabass clarinet are commonly used inconcert bands, which generally have multiple B♭ clarinets; there are commonly three or even four B♭ clarinet parts with two to three players per part.[108] The clarinet is also used inmilitary bands; author Eric Hoeprich suggests that "it was the role of the clarinet in the military band... that ultimately provided the key to its future popularity", since it was particularly suited to the ensemble.[124]
Clarinet choir contains many clarinets playing together, usually including several members of the clarinet family. This ensemble first emerged in 1927. The homogeneity of tone across the different members of the clarinet family produces an effect with some similarities to a humanchoir. Parts for non-clarinets, such as voice or French horn, are sometimes included in the repertoire.[125]
The clarinet evolved later than other orchestral woodwind instruments, leaving solo repertoire from theClassical period onward, but few works from theBaroque era.[119] Examples of the first uses of clarinets includeVivaldi's 1716 oratorioJuditha triumphans with two C clarinets,[126] andHandel's 1740Ouverture for two clarinets and horn.[127] In the 1750s, clarinets were introduced in the orchestra of La Pouplinière in Paris.[128]Johann Stamitz composed the first known concerto for B♭ clarinet for the principal clarinetist of this orchestra.[129]Johann Melchior Molter wrote six clarinet concertos for clarinet in D, the first dated to around 1742.[129]
Clarinets appeared in theMannheim orchestra under Stamitz and in other orchestras from 1758,[129] but were not commonly used before the 19th century.[128]Harmonie wind ensembles including clarinets were common from the mid-18th century.[129] Classical composers of solo or duo concertos for this instrument includedKarl Stamitz andFrantišek Xaver Pokorný.[119] The firstclarinet sonata was written in 1770 by the Neapolitan composer Gregorio Sciroli.[130]
Larghetto from the Mozart Quintet; Vlad Weverbergh on a replica of the Stadler clarinet
While the Classical period often used the clarinet, theRomantic era incorporated it more as an integral part of the orchestra.[134] The clarinet became a staple, with composers such asSchubert,Mendelssohn,Berlioz,Dvořák,Smetana,Brahms,Tchaikovsky, andRimsky-Korsakov writing prominent clarinet passages in their orchestral works.[128] In Romantic opera orchestration, the clarinet frequently takes on expressive, lyrical roles.[134] The clarinet section expanded to three or more players, with some performing on auxiliary instruments such as thebass clarinet.[134] Certain operas, such as Strauss'sElektra, require up to eight players.[135]
The clarinet was a central instrument in jazz, beginning with early jazz players in the 1910s. It remained a signature instrument of the genre through much of thebig band era into the 1940s.[30] One of the most recognizable clarinet excerpts is the virtuosoglissando that introduces the 1924Rhapsody in Blue byGeorge Gershwin.[140] Swing performers such asBenny Goodman andArtie Shaw rose to prominence in the late 1930s.[30]
Beginning in the 1940s, the clarinet faded from its prominent position in jazz.[141][30] By that time, an interest inDixieland, a revival of traditional New Orleans jazz, had begun.Pete Fountain was one of the best known performers in this genre.[141][142] The clarinet's place in the jazz ensemble was usurped by the saxophone, which projects a more powerful sound and uses a less complicated fingering system.[143] The clarinet did not entirely disappear from jazz—prominent players since the 1950s includeStan Hasselgård,Jimmy Giuffre,Eric Dolphy (on bass clarinet),Perry Robinson, andJohn Carter. In the US, the prominent players on the instrument since the 1980s have includedEddie Daniels,Don Byron,Marty Ehrlich,Ken Peplowski, and others playing in both traditional and contemporary styles.[30]
The clarinet has a significant role invernacular music in many parts of the world.[147] Clarinets feature prominently inklezmer music, which employs a distinctive style of playing.[148] The popular Brazilian music style ofchoro uses the clarinet,[149] as does Albaniansaze and Greekkompania folk music,[150] andBulgarian wedding music.[147] InTurkish folk music, the Albert system clarinet in G is often used, commonly called a "Turkish clarinet".[147][151]
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