How to do diaphragmatic breathing for clarinet players: Sit or lie comfortably with a straight spine. Place one hand on your belly. Inhale through the nose, filling the lungs from bottom to top so the belly gently expands. Exhale on a steady stream so the belly contracts. Repeat 5-10 breaths, then practice controlled exhalations (hissing or on clarinet) for 10-30 seconds.
Why Breath Matters for Clarinet Players
Clarinet breathing exercises give you the fuel for sound. Air controls tone, pitch stability, dynamics, and phrase length. When your breathing is weak or tense, you fight the instrument, tire quickly, and your sound thins out, especially in the upper register and soft dynamics.
Strong, coordinated breathing lets you play longer phrases, keep a centered tone, and shape musical lines without strain. Players from middle school to conservatory level report that focused breathing practice often improves tone and endurance faster than adding more scales or etudes.
Most players can increase sustained-note time by 30-50 percent in 6-8 weeks of daily clarinet breathing exercises (5-10 minutes), without changing mouthpiece or reed.
Breath also affects confidence. When you know you have enough air, you can focus on articulation, intonation, and musical expression. Clarinet teachers often find that many “embouchure” or “support” problems vanish once students learn to move air freely and efficiently.
How Clarinet Breathing Works (Anatomy & Instrument Airflow)
Clarinet breathing uses the same basic respiratory system as speaking or singing, but with higher demand for control and pressure. The diaphragm, intercostal muscles between the ribs, abdominal muscles, and pelvic floor all coordinate to move air through the instrument at a steady rate.
The diaphragm is a dome-shaped muscle under the lungs. When it contracts, it moves downward, creating space for the lungs to fill. The intercostal muscles expand the rib cage. For clarinet, you want a feeling of expansion around the lower ribs and belly, not just lifting the shoulders or tightening the neck.
On the instrument side, air flows through the mouthpiece and reed, into the barrel, through the cylindrical bore, and out the tone holes and bell. The reed vibrates because of air pressure and embouchure. If the air stream is weak or uneven, the reed cannot vibrate fully, and the tone becomes thin or unstable.
Clarinet has more resistance than flute or saxophone. That resistance is created by the narrow tip opening, reed strength, and long cylindrical bore. You do not need as much raw air volume as a flute player, but you need consistent air pressure and support over longer phrases.
Embouchure and fingering also affect airflow. A tight bite or pinched corners can choke the reed, while leaky fingers or pad leaks let air escape, forcing you to blow harder. Good breathing exercises train you to feel the difference between healthy resistance and blockage.
Average comfortable lung capacity for teen and adult clarinetists is roughly 3-5 liters, but even using an extra 0.5 liter efficiently can add 4-8 beats to a sustained note at 60 bpm.
Core Breathing Exercises – Step by Step
These clarinet breathing exercises build from basic body awareness to instrument control. Start away from the instrument, then transfer the same sensations to mouthpiece-only and full clarinet playing.
Diaphragmatic Breathing (Foundational Exercise)
Use this to learn low, relaxed breathing that supports clarinet tone without neck or shoulder tension.
Sit or lie with a straight but relaxed spine. Place one hand on your chest and one on your belly.
Inhale through the nose for 4 counts, aiming to move the belly hand more than the chest hand.
Feel expansion around the lower ribs and back, not just forward in the stomach.
Exhale through slightly pursed lips for 6-8 counts, keeping the chest lifted and the belly gently drawing inward.
Repeat 5-10 breaths, staying relaxed in the throat, jaw, and shoulders.
Once this feels natural, add a gentle hiss on the exhale to simulate clarinet resistance. Keep the hiss even, like air through the mouthpiece.
Hissing Long Exhales (Air Control & Endurance)
This exercise builds steady airflow and endurance that transfer directly to long tones and phrases.
Stand or sit tall. Inhale for 4 counts using diaphragmatic breathing.
Start a soft, steady hiss on “sss,” as if playing a very soft note.
Time how long you can keep the hiss even before the air runs out or becomes shaky.
Rest, then repeat 3-5 times, aiming for consistency rather than maximum length.
Gradually increase exhale time by 2-4 seconds over several weeks.
Use a metronome at 60 bpm and count beats. This gives clear data you can track in a practice journal.
Straw Breathing (Resistance & Focused Air Stream)
Straw breathing simulates clarinet resistance and trains a narrow, focused air column.
Take a normal drinking straw. Place it between your lips, not between your teeth.
Inhale through the nose for 4 counts using low breathing.
Exhale only through the straw for 8-12 counts, keeping the air steady.
Check that your cheeks are not puffing and your throat feels open.
Repeat 5-8 times, then rest.
To progress, alternate 4 counts exhale through the straw, then 4 counts exhale on the clarinet mouthpiece, trying to match the same feeling of focused air.
Five-Count Breath Cycle (Rhythmic Control)
This clarinet breathing exercise links breath to pulse, which helps phrasing and timing in real music.
Set a metronome to 60 bpm.
Inhale for 4 beats, then hold the full breath for 1 beat, staying relaxed.
Exhale for 4 beats on a hiss or gentle “shhh.”
Rest for 1 beat with empty lungs, then repeat.
Do 6-10 cycles, focusing on smooth transitions between inhale, hold, and exhale.
Later, replace the exhale hiss with a long tone on clarinet, keeping the same 4-beat exhale and 1-beat rest pattern.
Clarinet Long Tones with Dynamic Swells
This is the key bridge between breathing exercises and real clarinet playing. It connects air support to tone and dynamics.
Choose a comfortable note such as open G or throat A.
Inhale fully using diaphragmatic breathing.
Play the note as softly as possible (pp) for 4 beats.
Crescendo gradually to mf or f over 4 beats, then decrescendo back to pp over 4 beats.
Release cleanly, rest, and repeat 3-5 times on the same note, then move to other notes and registers.
Listen for an even tone with no bumps when you change dynamic. If the sound breaks, focus on smoother air rather than biting harder.
Intro to Circular Breathing (Optional Advanced Skill)
Circular breathing is not required for most clarinet repertoire, but it can help advanced players in contemporary music or extended passages.
Practice puffing your cheeks and gently squeezing air out through pursed lips while inhaling quickly through the nose.
Use water in a glass and a straw. Blow bubbles with puffed cheeks, then briefly inhale through the nose while the cheeks keep the bubbles going.
Transfer the same motion to the clarinet mouthpiece, starting with very short bursts.
Gradually lengthen the time you maintain sound while sneaking quick nasal inhales.
Keep sessions short to avoid tension. This skill takes weeks or months to become reliable, even for advanced players.
Progressive Practice Plans & Daily Routines
Clarinet breathing exercises work best in a structured plan. Short, daily sessions beat long, occasional ones. Use these sample routines as templates and adjust times to your level and schedule.
Beginner / Early Intermediate (10-15 minutes daily)
Goal: Build basic diaphragmatic breathing, simple air control, and comfort sustaining notes for 8-12 seconds.
4 minutes: Five-count breath cycles with hiss, 10 cycles.
6 minutes: Long tones with dynamic swells across registers (chalumeau, throat, clarion).
4-7 minutes: Apply to excerpts, marking breath points and experimenting with fewer, deeper breaths.
Once or twice a week, add a “test day” where you time your longest hiss and longest long tone, and note how many measures you can play in a specific piece on one breath.
Advanced / Pre-professional (20-25 minutes, 4-6 days per week)
Goal: Fine control of air for advanced repertoire, soft attacks, extreme dynamics, and optional circular breathing.
4 minutes: Hissing and straw alternation (4 counts hiss, 4 counts straw) for 8-10 cycles.
8 minutes: Long tones with crescendos/decrescendos, including pp in the altissimo and controlled sfz attacks.
4-6 minutes: Circular breathing drills (if needed) or phrase-extension practice on orchestral excerpts and concertos.
Players who follow a structured clarinet breathing routine 5 days per week typically gain 6-12 additional beats of stable long tone within 8 weeks, based on studio tracking logs.
Weekly Structure & Rest
Plan at least one lighter day per week where you reduce breathing drills and focus on easy playing. Overworking can cause tension in the neck and jaw. If you feel dizzy during exercises, stop, rest, and shorten inhale times until your body adapts.
Teachers can assign a simple breathing log: date, exercise, duration, longest hiss, longest long tone, and comments. This keeps students accountable and reveals patterns over time.
Measuring Progress: Metrics and Benchmarks
Objective measurements help you see whether clarinet breathing exercises are working. Use a metronome, timer, and simple listening tools to track your growth.
Long Tone Duration Benchmarks
These are typical targets for sustained, steady notes at a comfortable dynamic (mp-mf) on a mid-register note, such as open G, at 60 bpm.
Beginner: 8-12 seconds (8-12 beats)
Intermediate: 15-25 seconds (15-25 beats)
Advanced: 25-40 seconds (25-40 beats)
Test once per week. Record the time and note whether the tone stayed stable in pitch and color. Improvement of even 2-3 seconds over a month is meaningful.
Phrase Length & Breath Planning
Choose a scale or short etude. Count how many measures you can play at a given tempo on one breath without strain. Mark your usual breath spots in pencil, then work to remove one breath per phrase over several weeks by using deeper, more efficient inhalations.
You can also use a metronome and count how many beats of a slurred scale you can play on one breath. This links air use to finger movement and real music patterns.
Dynamic Control & Evenness
Record yourself playing long tones with crescendos and decrescendos. Listen for sudden jumps in volume or changes in tone color. Over time, your goal is a smooth, gradual change in loudness without pitch sagging sharp or flat.
Some players use simple decibel meter apps to check relative dynamic range. While not perfect, they can show whether your soft playing is getting softer and your loud playing more controlled.
Perceived Effort & Recovery
After challenging passages, note how quickly your breathing returns to normal. With better technique, you should feel less winded and recover faster between phrases. Rate your effort on a 1-10 scale and aim to reduce that number for the same passage over time.
Troubleshooting Common Breathing Problems
Not every issue is solved by more air. Use these diagnostic ideas to separate breathing mechanics from equipment and tension problems.
Running Out of Breath Too Soon
If you run out of air in the middle of phrases, ask:
Am I taking a full, low breath or a shallow chest breath?
Am I wasting air with leaky embouchure or finger holes?
Is my tempo too slow for my current capacity?
Test: Play a long tone at mf and time it. If your long tone is short, focus on diaphragmatic breathing and hissing exercises. If your long tone is fine but phrases still feel hard, check for leaks or overly soft reeds that waste air.
Inconsistent Tone and Dynamics
If your sound wobbles or dynamics jump suddenly, the air stream may be uneven.
Practice hissing and straw exercises, aiming for a perfectly steady sound.
Do long tones with very slow crescendos and decrescendos, recording yourself.
Check that your throat is open, as if saying “ah,” and that you are not clamping with the jaw.
Sometimes a warped reed or dirty mouthpiece also causes instability, so pair breathing work with basic maintenance.
Neck and Shoulder Tension
Tension often comes from trying to “force” air instead of allowing it. Signs include raised shoulders, tight jaw, and sore neck after playing.
Practice diaphragmatic breathing lying on your back, where shoulders can relax.
Do slow shoulder rolls and neck stretches before playing.
Watch in a mirror to check that shoulders stay level during inhalation.
If tension persists or causes pain, consult a teacher or medical professional, especially if you feel chest pain, dizziness, or chronic discomfort.
Is It Breathing or Equipment?
Use this simple flow:
If your hiss and straw exercises are steady but clarinet tone is unstable, suspect reed, mouthpiece, or leaks.
If both hiss and clarinet sound are uneven, focus on breathing mechanics and posture.
If only certain notes are hard to sustain, check for pad leaks or misaligned keys on those notes.
A quick test is to play on the mouthpiece and barrel only. If producing a clear, stable pitch is difficult even with good air, equipment or embouchure may need attention.
Instrument Setup and Maintenance That Affects Airflow
Even perfect clarinet breathing exercises cannot overcome a poorly set up instrument. Small equipment issues can make you feel like you have no air or support.
Reed Selection and Rotation
Reeds that are too soft can feel easy at first but collapse under air pressure, wasting air and causing instability. Reeds that are too hard make you bite and restrict airflow.
Choose a strength that allows a full, centered tone with relaxed embouchure.
Rotate 3-4 reeds in regular use to avoid sudden changes in response.
Discard chipped or warped reeds that respond unevenly, especially on soft dynamics.
Mouthpiece, Facing, and Ligature
The mouthpiece and facing curve control resistance. A very closed facing with a soft reed can feel stuffy, while an open facing with a hard reed can feel like blowing into a wall.
Keep the mouthpiece clean. Soak briefly in lukewarm water and brush the interior regularly.
Place the ligature evenly, usually just above the bark of the reed, not too tight.
If you constantly struggle with air, ask a teacher or technician to evaluate your mouthpiece setup.
Barrel, Corks, and Alignment
Barrel length and fit affect resistance and response. Very short barrels or poorly fitting corks can alter how air flows and how easily notes speak.
Check that tenon corks are greased and joints fit snugly without excessive force.
Align the bridge keys carefully so they do not partially open pads.
Experiment with standard barrel lengths before moving to specialty barrels.
Leak Checks and Regular Maintenance
Leaks force you to blow harder, wasting air and making soft playing nearly impossible.
Have a technician check for pad leaks at least once a year, or sooner if you notice sudden changes.
Listen for hissing air or notes that are hard to start cleanly.
Swab the instrument after each session to prevent moisture damage that can affect pad sealing.
Good equipment does not replace breathing exercises, but it allows your air to work efficiently and predictably.
History & Pedagogy: Breath Techniques for Clarinet (including Martin Freres legacy)
Clarinet breathing pedagogy has evolved alongside the instrument itself. Early 19th century methods from the Paris Conservatoire, such as those by Hyacinthe Klosé, already stressed “full, calm breathing” and long tones as the basis of tone production.
In the late 19th and early 20th centuries, teachers like Cyrille Rose and Carl Baermann included sustained notes and lyrical studies that implicitly trained breath control. Singers and wind players alike were taught “abdominal” or “diaphragmatic” breathing, even if the anatomy was not always described precisely.
By the mid 20th century, clarinet pedagogues such as Daniel Bonade, Robert Marcellus, and later Larry Guy brought more systematic attention to air support, often borrowing ideas from vocal pedagogy and respiratory physiology. Conservatories in Paris, Vienna, and New York emphasized long tones and phrase shaping as daily essentials.
Martin Freres archival catalogs from the late 19th century show method books and exercise collections that paired their clarinets with detailed guidance on tone and breath. These materials highlight long tones and sustained melodic lines, reflecting a strong tradition of using air-focused practice to unlock the full resonance of historical Martin Freres instruments.
Modern research in wind pedagogy and sports science has refined these ideas, using spirometers, flow visualizations, and high-speed imaging of reed motion. Yet the core advice remains close to what early masters taught: relaxed, deep breathing, steady air, and daily long tones as the foundation of clarinet tone and endurance.
Key Takeaways
Clarinet breathing exercises built on diaphragmatic breathing, hissing, and long tones give faster gains in tone and endurance than extra finger drills alone.
Track progress with simple metrics like long tone duration, phrase length, and dynamic evenness to keep practice focused and motivating.
Always pair breathing work with basic instrument maintenance so your air is not wasted by leaks, warped reeds, or poor setup.
Frequently Asked Questions
What is clarinet breathing exercises?
Clarinet breathing exercises are targeted drills that train how you inhale and exhale for playing. They include diaphragmatic breathing, hissing long exhales, straw breathing, and long tones on the instrument. The goal is steady, efficient airflow that improves tone, endurance, and phrasing while reducing tension.
How often should I practice breathing exercises for the clarinet?
Most players benefit from 5-10 minutes of clarinet breathing exercises on most days. Aim for at least 4-5 sessions per week. Short, consistent practice works better than occasional long sessions. You can also use simple breathing drills as a warm up before regular scales, etudes, and repertoire.
Can breathing exercises help with tone and endurance on the clarinet?
Yes. Steady, well-supported air is the main driver of clarinet tone quality and endurance. Breathing exercises improve how much air you can use, how smoothly you deliver it, and how relaxed your body stays. Many players notice clearer tone, easier soft playing, and longer phrases within a few weeks.
Are there quick checks to tell if a problem is my breathing or my equipment?
Try this: if your hiss and straw breathing are steady but your clarinet sound is unstable, suspect reeds, mouthpiece, or leaks. If both hiss and clarinet sound are uneven, focus on breathing and posture. If only certain notes misbehave, have a technician check for pad leaks or mechanical issues on those notes.
Is circular breathing necessary for clarinet players and how do I start?
Circular breathing is not necessary for most band, orchestral, or solo clarinet music. It is useful in some contemporary or extended pieces. To start, practice blowing air from puffed cheeks while briefly inhaling through the nose, first with a straw in water, then on the mouthpiece, and finally on full clarinet.
Which reeds, mouthpieces or accessories improve airflow for breathing exercises?
Choose a reed strength that responds easily without collapsing, paired with a balanced mouthpiece facing recommended by a trusted teacher or technician. A well-fitting ligature and clean mouthpiece help air flow smoothly. No accessory replaces good breathing, but a comfortable, responsive setup makes exercises more effective and less tiring.
