The Clarinet Altissimo: Annoying or Delightful?

What’s the best way to learn the clarinet altissimo register? Here are some suggestions from the book, The Break by Paula Corley.

You can review this short video to learn more about these techniques.

The Altissimo Register

There are two ways to learn the altissimo register notes. Example one is easier to finger but risks upper register explosions.

Example 1

• A becomes E by adding the register key
• The left index finger is lifted for highest C-sharp.
• Subsequent notes in the altissimo are produced the same way: by lifting the left index finger.

Example Two

Example two is more difficult to finger but easier to control, because the register shift is not as sudden.

C-Sharp/D-Flat

D

D-sharp/E-flat

The fingering shown is most common.

E

This note can be unstable and will squeak up to high A if the tongue position is too low.

F

The fingering shown is most common.

Discover More in Paula's Book

The Break: Mastering the Middle Register of the Clarinet

“Crossing the break” can be a source of frustration for developing clarinetists. The Break is a logical guide for mastering this important step in clarinet performance. The method is divided into two parts: Part I contents: the clarinet overtone series – how new note names attach to previously learned fingerings; how to incorporate 'right hand down' as a developmental technique; one octave scales across the break; first melodies in the clarion register that teach basic musical concepts needed for advanced performance. Part II contents: studies from Rhythmical Articulation by Pasquale Bona, selected and edited for clarinet to prepare students for upper level performance. Rhythmical Articulation was originally written to assist singers with rhythmical and pitch accuracy.

Range: The range is appropriate for developing clarinetists (low B to B just above the treble staff). Third-line B natural is often referred to as “the break” because it is the note where the register key is added to produce the middle register. These studies and exercises center around third-line B natural and provide a means to develop smooth connections between the lower and middle registers of the clarinet.

Technique: The studies have been adapted for clarinet to cover nine key signatures. Appropriate articulations, dynamics, and expressive markings have been added to reflect common practice in the classical style. Advanced rhythms and time signatures are introduced with moderate tempos. Musical terms have been added to identify phrases and suggest expression. The Break also includes an introduction to the altissimo register.

About Paula Corley

Paula Corley is the Education Advisor for Buffet Crampon North America. She has 33+ years of teaching experience from middle school to university level. Most recently Paula served as the clarinet instructor at Texas Lutheran University where she hosted ‘clariNETWORKS’ – a very popular annual event for clarinetists of all ages and band directors. She is also a chamber music judge for Music for All's National Chamber Music Festival and served as the Pedagogy Chair for the International Clarinet Association from 2018-2020. Most know her as the ‘mayor’ of Clarinet City, a teaching website for all ages and stages of clarinet playing.

Originally from Mississippi, Paula grew up without access to clarinet lessons which sparked a lifelong interest in research for developing players. She is a graduate of Mississippi State University (BME) where she was named Alumnus of the Year in 2012-13 and Southern Methodist University (MM) where she worked with the legendary Howard Dunn. Paula taught in Plano, Texas ISD for many years before moving to Asheville, NC where she served as principal clarinet in the Asheville Lyric Opera and on the faculty at Mars Hill University (NC). Author of So You Want to Play the Clarinet and The Break (Southern/Hal Leonard), Paula has performed and presented at music conferences throughout the US since 1998. She is a performing artist and clinician for Vandoren and for Buffet Crampon and her articles have appeared in THE CLARINET, Vandoren WAVE, The Texas Bandmasters Review, and The Instrumentalist. A new series of her arrangements for clarinet can be found at Hal Leonard. (See the Homepage for links.). She also has two recorded works for clarinet: Unfamiliar Territory by Michael Markowski and Road Trip for clarinet quintet by Clifton Jones.