How to growl on the clarinet in 5 quick steps: 1) Select a stable note in the middle register. 2) Play the note with steady airflow. 3) Begin humming an alternate pitch, starting a perfect fifth above or a second below. 4) Adjust humming volume until the buzz blends but does not choke the tone. 5) Practice slow, short phrases, then increase length and dynamics.
What is clarinet growling?
Clarinet growling is a technique where you hum or vocalize while playing, creating a rough, buzzing texture on the tone. The sung pitch interferes with the clarinet sound, producing a gritty, sometimes multiphonic effect. Players use growling in jazz, blues, klezmer, and experimental music to add intensity, mimic the human voice, and create dramatic color changes.
Unlike accidental squeaks, a controlled growl sits on top of a stable, centered note. The core clarinet sound stays present, while the hum adds noise, extra overtones, and rhythmic shimmer. When done well, the listener hears one expressive sound, not two separate pitches fighting each other.
Typical learning curve: 7-10 days to produce a basic growl, 3-6 weeks for controlled phrases, 8-12 weeks to use growling musically at multiple dynamics.
A brief history and notable recordings
Clarinet growling grew out of early jazz and blues traditions, where wind players imitated vocal inflections. In New Orleans around 1910-1920, clarinetists and trumpeters experimented with vocalized effects to echo blues singers and field hollers. These sounds appear on early acoustic recordings preserved by the Library of Congress and the Smithsonian.
By the 1920s and 1930s, clarinetists in dance bands and small groups used growling and similar effects for comic, hot, or “dirty” choruses. While saxophonists like Sidney Bechet and later Ben Webster are often cited for vocalized tone, clarinetists in regional bands also adopted humming and fluttering sounds, especially on blues numbers and novelty pieces.
In the mid-20th century, extended techniques gained new life in avant-garde and free jazz. Clarinetists in the circles of Eric Dolphy, John Carter, and later experimental players explored multiphonics and vocalization as part of a broader sound palette. Growling became one of several tools used to break away from pure, orchestral tone ideals.
Classical and contemporary composers began notating vocalized effects for clarinet in the late 20th century. Scores in university and conservatory libraries often specify humming while playing, or indicate approximate sung pitches to create controlled multiphonics and textures. This brought growling into recital halls and new music ensembles, not just clubs and jam sessions.
For listening, seek out archival jazz and blues recordings from the 1920s and 1930s in collections like the Library of Congress National Jukebox and Smithsonian Folkways. Pay attention to clarinet features on blues-influenced tracks, where players sometimes use vocalized or roughened tone to match singers and brass.
Field note from the Martin Freres archive: Several early 20th century Martin Freres clarinets in the collection show heavy wear on mouthpiece rails and ligature areas, consistent with players who favored flexible embouchures and expressive effects. Period method books mention “dirty” or “coarse” tones for jazz, hinting that vocalized growls and similar sounds were part of everyday dance band practice, even when not formally notated.
Later 20th century recordings in university and radio archives document clarinetists using growling in contemporary chamber works and solo improvisations. Comparing these sources shows how an effect born in early jazz clubs migrated into concert music and experimental scenes worldwide.
How clarinet growling works: acoustics and instrument anatomy
Clarinet growling relies on interaction between three systems: your clarinet, your reed-mouthpiece setup, and your vocal tract. The clarinet provides a stable pitch. The reed vibrates to create the basic tone. Your humming adds a second vibration source that interferes with the clarinet sound, producing beating, extra overtones, and sometimes multiphonics.
Inside the clarinet, air vibrates in a cylindrical bore. The fundamental pitch is the note you finger, while higher harmonics give the sound color. When you hum a different pitch, you send another vibration through the same air column. The two frequencies mix, creating roughness where they clash and new combination tones where they align.
The mouthpiece and reed are the gateway. The reed responds to changes in air pressure and embouchure. If your embouchure is too tight, the added vibration from humming can choke the reed and kill the sound. If it is too loose, the pitch may sag or break. A balanced, flexible embouchure lets the reed keep vibrating while the hum adds texture.
Your vocal tract acts like a second instrument. When you hum, your vocal folds vibrate and shape the airflow before it reaches the mouthpiece. Small changes in tongue height, throat openness, and soft palate position alter how strongly the hum couples into the clarinet. A relaxed, open throat usually produces a fuller, more controllable growl.
Acoustically, growling often creates a form of multiphonic. The clarinet tries to sustain its normal pitch, while the sung pitch adds another frequency. The ear hears a complex sound with beating and roughness. If the sung pitch is close to a clarinet harmonic, the effect can be smoother. If it clashes strongly, the sound becomes more aggressive and noisy.
Think of the clarinet as the carrier signal and your voice as the modulator. You keep the clarinet note steady while shaping the hum for color, intensity, and rhythm. This mindset helps you prioritize air support and pitch stability, instead of letting the hum pull the clarinet tone out of tune.
Acoustic tip: humming a pitch 3-7 semitones away from the clarinet note usually produces a clearer, more controllable growl than unison or octave humming for most players.
Step-by-step technique to produce a growl
Start with the goal of a stable clarinet tone plus a gentle buzz, not a wild, distorted sound. The first objective is control. Once you can turn the growl on and off at will, you can explore stronger effects. Use a comfortable reed and mouthpiece that already give you reliable tone in the middle register.
Step 1: Choose the right note and setup
Begin in the middle register, such as written G, A, or B in the staff. These notes respond easily and are less likely to crack. Use a reed that is not at the end of its life and not excessively hard. If you struggle with response, consider dropping a half strength for the first growling experiments.
Set your embouchure as you would for a normal, centered tone. Check that your posture is relaxed, shoulders down, and throat open as if saying “ah.” Take a few long tones on the chosen note to confirm stable pitch and even air support before adding any humming.
Step 2: Establish a steady clarinet tone
Play a long tone at mezzo forte on your chosen note. Focus on steady air from the diaphragm and lower ribs. Keep the jaw stable and the tongue relaxed. Aim for a pure, non-wobbly sound. Use a tuner if needed to confirm that the pitch is not drifting.
Hold this note for 8 to 10 seconds several times. If you cannot hold a steady tone comfortably, spend a few days on long tone practice before adding growling. The more solid your base sound, the easier it will be to layer the hum without losing control.
Step 3: Add a gentle hum off the instrument
Remove the clarinet from your mouth and simply hum. Find a comfortable mid-range pitch in your speaking voice. Slide up and down to feel where your voice is relaxed. Then practice humming while keeping your throat open and jaw loose, as if you were about to play clarinet.
Next, hold the clarinet in playing position without blowing, and hum while keeping your embouchure shape. This feels strange at first, but it teaches your body to separate embouchure muscles from vocal production. Aim for 10 to 15 seconds of comfortable humming with no throat tension.
Step 4: Combine playing and humming
Return the mouthpiece to your mouth. Play your chosen note as a long tone. After one or two seconds, begin to hum very softly. Start with an easy interval, such as a perfect fifth above the clarinet note or a whole step below. The exact pitch is less important than staying relaxed and quiet at first.
Keep the air support aimed at the clarinet, not at the hum. Think of the hum as a light overlay. If the note chokes, reduce the volume of your hum and slightly increase air speed. If the pitch wobbles, focus on a stable clarinet embouchure and let the hum be flexible.
Step 5: Shape and control the growl
Once you can sustain a basic growl for 3 to 4 seconds, experiment with turning it on and off. Start the note clean, add the hum for two beats, then release the hum while keeping the clarinet note ringing. This teaches you to treat growling as a controllable color, not a constant effect.
Try different humming intervals: a third above, a fourth below, or even a tritone for a harsher sound. Notice which intervals feel easiest and which create the most dramatic texture. Record yourself to hear the balance between core tone and noise, then adjust humming volume accordingly.
Progressive practice exercises and workout plans
A structured plan helps you avoid vocal strain and build reliable control. Short, focused sessions are more effective than long, forced attempts. Aim for 10 to 15 minutes of growling work inside a 45 to 60 minute practice session, especially during the first few weeks.
Week 1: Basic coordination and short growls
In the first week, focus on single notes and very short phrases. Start each session with 5 minutes of regular long tones in the middle register. Then choose 2 or 3 notes and practice adding and removing the growl for 2 beats at a time, always starting and ending with a clean tone.
Limit growling attempts to 3 or 4 sets of 5 repetitions per note. Rest your voice between sets by playing non-growled passages. If your throat feels tired or scratchy, stop growling for the day and return to it tomorrow. The goal is ease, not volume or extremity.
Weeks 2-3: Phrases, dynamics, and intervals
Once you can produce consistent short growls, move to simple 2 to 4 bar phrases. Use scales or easy melodies and decide where to add growl on specific notes. Practice switching between normal tone and growl within a phrase, always keeping the clarinet pitch stable.
Add dynamic variation: play a note at mezzo piano with a light growl, then repeat at mezzo forte and forte. Notice how louder dynamics make the growl more obvious but also more demanding on your air support. Keep sessions to 10-15 minutes of growling work, 4-5 days per week.
Player outcomes: after 3 weeks, most intermediate players can sustain 2-4 beat growls at mp-mf and insert them into simple 4-bar phrases with basic control.
Weeks 4-6: Range expansion and rhythmic effects
From week 4, extend growling into lower and upper chalumeau and clarion registers. Some notes will respond more easily than others. Map which fingerings give you the clearest growl and which resist. Use arpeggios and broken chords, adding growl on selected target notes.
Experiment with rhythmic pulsing of the hum while holding a long clarinet note. For example, play a whole note and pulse the hum in quarter notes or eighth notes. This builds independence between air support and vocal rhythm, useful for jazz and experimental textures.
Weeks 7-12: Musical integration and style
After 6 weeks, begin integrating growling into real repertoire and improvisation. Choose blues heads, jazz standards, or contemporary etudes where a rougher tone makes musical sense. Mark specific spots to growl and practice them slowly, then at performance tempo.
Set measurable goals: 4-bar phrases with controlled growl at multiple dynamics, clear starts and stops, and consistent intonation. By 12 weeks, many players can use growling as a reliable expressive tool, not just a special effect that works occasionally.
Gear and maintenance tips that help the growl
While you can growl on almost any functional clarinet, certain gear and maintenance choices make the technique easier and more consistent. A responsive reed-mouthpiece setup and a well-regulated instrument reduce the effort needed, so you can focus on coordination rather than fighting the equipment.
Reeds and mouthpieces for growling
Choose a reed strength that already gives you easy response and a full tone. Many players find that a medium or medium-soft reed (around 2.5 to 3 on common scales) offers enough resistance for control without making the hum choke the reed. Extremely hard reeds often make growling more difficult.
Mouthpieces with a medium tip opening and facing length usually balance control and flexibility. Very closed mouthpieces can feel stuffy when you add humming, while extremely open ones may demand more air than is comfortable for extended growling. If you already have a reliable jazz or all-purpose mouthpiece, start there before changing gear.
Instrument condition and bore cleanliness
A clean, well-sealed clarinet responds more predictably to extended techniques. Swab the bore after every playing session to remove moisture and residue. Once a week, check the tone holes and inside the barrel for buildup that could affect response, especially when you push the instrument with extra air for growling.
Leaks around pads or loose tenon corks can make the instrument unstable when you add humming. If certain notes refuse to speak or crack easily when you growl, have a technician check for leaks, worn pads, or misaligned keys. Fixing these issues often improves both normal tone and extended techniques.
Simple maintenance checklist for growling
Rotate 3 to 4 reeds in regular use, giving each at least 24 hours to rest between sessions. Lightly smooth rough reed tips with fine sandpaper or a reed rush if they feel buzzy in an uncontrolled way. Replace reeds that feel dead or unresponsive, as they make growling harder to control.
Every month, inspect the mouthpiece rails and tip for chips or warping. Clean the mouthpiece with lukewarm water and a soft brush, avoiding hot water that could damage it. Every 6 to 12 months, schedule a professional checkup of pads, corks, and spring tension to keep the clarinet responding evenly across registers.
Troubleshooting common problems
Many players meet the same obstacles when learning to growl: no audible effect, choked notes, pitch instability, or vocal fatigue. Systematic troubleshooting can reveal whether the main issue lies in air support, embouchure, vocal production, or instrument setup. Address one variable at a time instead of changing everything at once.
Problem: No audible growl
If you hear almost no difference when you hum, you may be humming too softly, too close to the clarinet pitch, or with a closed throat. Try humming a clear, comfortable pitch about a third or fifth away from the clarinet note, and increase the humming volume slightly while keeping air support strong.
Record yourself from a few feet away. Sometimes the growl is more audible to the listener than to the player. If the recording still sounds clean, experiment with a slightly more open embouchure and a more relaxed jaw, while maintaining enough firmness to keep the reed stable.
Problem: The note chokes or stops
Choking usually means the reed is being overpowered or pinched. Reduce the volume of your hum and focus on faster, more supported air. Check that your embouchure is not tightening when you start humming. Think of blowing “through” the hum, not reacting to it.
If the problem persists, test a slightly softer reed or a reed in better condition. Very stiff or worn reeds are more likely to shut down when disturbed by extra vibration. Also verify that the clarinet has no leaks, especially around the joints and lower joint pads.
Problem: Pitch wobbles or goes out of tune
When the sung pitch pulls the clarinet pitch around, it often means your embouchure and air support are following the voice instead of leading. Prioritize the clarinet note: lock it in with a tuner, then add a very gentle hum. If the pitch moves, reduce humming volume and keep the jaw still.
Choose humming intervals that do not tempt you to match the clarinet pitch. Many players find that humming a fifth or a tritone away helps them keep the two systems independent. Over time, you will learn to hear the complex sound without trying to tune the hum to the clarinet.
Problem: Vocal strain or throat fatigue
Vocal fatigue is a clear sign to stop and rest. Growling should feel like light humming, not forced singing. Keep sessions short, especially in the early weeks. If your throat tightens when you bring the clarinet to your mouth, practice humming with a relaxed “yawn” feeling in the back of the throat before adding the instrument.
Stay well hydrated and avoid growling when you are already hoarse from illness or speaking. If discomfort persists even with gentle practice, consult a voice specialist or medical professional. The goal is a sustainable technique that you can use for years without strain.
Musical applications and performance tips
Once you can growl reliably, the next step is using it musically. Growling is most effective when it serves phrasing, style, or emotional impact, not when it appears randomly. Think of it as one color in your palette, to be chosen intentionally for specific moments in jazz, blues, klezmer, or contemporary music.
Jazz and blues phrasing
In jazz and blues, growling can emphasize blue notes, climactic bends, or call-and-response figures. Try adding a light growl on the highest note of a phrase, or on sustained notes that answer a singer or soloist. Keep the rest of the line clean so the contrast is clear to the listener.
Experiment with combining growling and subtle pitch bends on long notes in a slow blues. Start the note clean, add a gentle growl, then slightly lower the pitch with embouchure and voicing. Return to a straight, non-growled tone at the end of the phrase to release the tension.
Experimental and contemporary textures
In experimental music, growling can create dense, noise-rich textures or quasi-multiphonics. Use different humming intervals to shape the color: closer intervals for rough, beating sounds, wider ones for layered, almost organ-like effects. Some scores specify approximate sung pitches; others simply ask for vocalized tone.
Combine growling with other extended techniques such as flutter tonguing, overblowing, or key clicks to build complex soundscapes. Always keep your basic air support and embouchure stable, even when the surface texture becomes wild. This stability protects both your sound and your body.
Live performance and amplification
On stage, growling projects differently depending on room acoustics and microphones. In small acoustic spaces, a moderate growl often carries well without overwhelming the core tone. With close microphones, even subtle growls can sound very pronounced, so rehearse with the sound system when possible.
Communicate with sound engineers about how much growl you plan to use. Ask them to preserve the natural dynamics rather than compressing everything heavily, which can flatten the expressive contrast between clean tone and growl. Recording rehearsals will help you adjust your balance for different venues.
References, archive recordings, and further listening
Listening to historical and modern examples of clarinet growling will sharpen your ear and give you stylistic ideas. Archive collections such as the Library of Congress, Smithsonian Folkways, and national radio libraries hold early jazz and blues recordings where reed players experiment with vocalized and roughened tones.
Search for early New Orleans and Chicago jazz ensembles featuring clarinet, paying special attention to blues numbers and novelty tunes. Even when growling is not labeled as such, you can often hear moments where the clarinet tone becomes more vocal, grainy, or speech-like, hinting at humming or throat effects.
Contemporary recordings of new music for clarinet often include notated vocalization and multiphonics. University libraries and digital platforms host performances of works that specify humming while playing, giving you clear models of controlled, repeatable growling in a concert context.
Compare different players and eras: how does a subtle, jazz-influenced growl differ from a full experimental multiphonic? How do classical-trained clarinetists integrate vocalized effects into otherwise pure tone? These listening questions will guide your own artistic choices.
Key takeaways
Clarinet growling is created by humming while playing, adding a controlled buzz and extra overtones to a stable clarinet tone.
Safe, effective growling depends on steady air support, a relaxed vocal tract, and a responsive reed-mouthpiece setup.
Progress gradually: start with short growls on middle-register notes, then expand to phrases, dynamics, and different registers over several weeks.
Troubleshoot by isolating variables: adjust humming interval and volume, check embouchure stability, and verify instrument condition.
Use growling musically, choosing spots in jazz, blues, or contemporary pieces where a rougher, more vocal tone enhances expression.
Frequently asked questions
What is clarinet growling?
Clarinet growling is a technique where you hum or vocalize while playing, creating a rough, buzzing texture on the tone. The sung pitch interacts with the clarinet sound, adding noise, extra overtones, and sometimes multiphonics. Players use it in jazz, blues, and contemporary music to add intensity and a vocal-like character.
How do I start practicing growling safely?
Begin with a stable long tone in the middle register at a comfortable dynamic. After one or two seconds, add a very soft hum on a nearby pitch, keeping your throat relaxed and air flowing steadily. Limit growling practice to 10-15 minutes per day, stop if your voice feels tired, and build duration gradually over several weeks.
Which reeds and mouthpieces are best for growling?
Most players do well with a medium or medium-soft reed that already responds easily, often around strength 2.5 to 3. A mouthpiece with a medium tip opening and facing length usually balances control and flexibility. You do not need special equipment, but a responsive, well-matched setup makes growling easier to control.
Why does my note choke or go out of tune when I try to growl?
Choking often comes from humming too loudly, using a reed that is too hard, or tightening the embouchure when you start to hum. Pitch instability usually means the voice is pulling the clarinet pitch. Reduce humming volume, focus on strong, steady air, keep the jaw stable, and choose humming intervals a few steps away from the clarinet note.
Can clarinet growling damage my instrument or voice?
Growling does not harm the clarinet if the instrument is in good condition and maintained normally. For your voice, gentle, short sessions with a relaxed throat are generally safe. Avoid forcing the hum, stay hydrated, and stop immediately if you feel pain or persistent hoarseness. Consult a medical professional if discomfort continues.
Where can I hear great examples of clarinet growling?
Look for early jazz and blues recordings in archives such as the Library of Congress and Smithsonian Folkways, where clarinetists use rough, vocalized tones on blues numbers. Contemporary recordings of new music for clarinet often feature notated vocalization and multiphonics. Comparing these sources will give you models of both stylistic and experimental growling.
