E harmonic minor on clarinet (concert): E – F# – G – A – B – C – D#. On B-flat clarinet (written): F# – G# – A – B – C# – D – E#. The raised 7th (D#/E#) often needs alternate fingerings and careful voicing for good intonation. See the chart and detailed fingerings below.
E Harmonic Minor Scale – Notes, Sound, and Quick Reference
E harmonic minor is a minor scale with a raised 7th degree, which creates a strong pull from D# up to E. On concert pitch instruments the notes are E, F#, G, A, B, C, D#, E. On B-flat clarinet the written scale is F#, G#, A, B, C#, D, E#, F#.
The sound of E harmonic minor is dark but intense, with a distinctive augmented second between C and D#. This interval gives the scale its characteristic Eastern European and Middle Eastern color. Clarinetists meet this scale in classical solos, orchestral parts, klezmer, and jazz improvisation over E minor and B7 harmonies.
For quick reference: practice the scale in one octave first, then extend to two octaves. Focus on the D# intonation and the register break between written B and C. These two spots cause the most instability for intermediate and advanced clarinet players.
E Harmonic Minor Clarinet Fingering Chart (Printable PDF & Image)
The E harmonic minor clarinet fingering chart should show written notes for B-flat clarinet from low F# up to high F#, along with clear key labels. Each scale degree appears in chalumeau, clarion, and early altissimo where practical, with standard and alternate fingerings marked.
In a printable PDF chart, use one staff per octave: lower octave (low F# to middle F#), upper octave (middle F# to high F#). Under each note, list primary fingering, then alternates for tuning or technical ease. Highlight D#/E# fingerings in a contrasting color to draw attention.
For image use, a vertical clarinet diagram with shaded tone holes works well. Show fingerings for written F#, G#, A, B, C#, D, E#, and the octave F# at three main levels: chalumeau, clarion, and altissimo. Label left-hand vs right-hand options for D# and F# to support fast passages.
Be sure the PDF is high resolution so printing at 100 percent scale keeps key labels readable. Instructors often keep a laminated copy on a stand for quick reference during lessons on harmonic minor scales and arpeggios.
Fingerings by Register: Low, Chalumeau, Clarion, and Altissimo
Clarinetists usually think in three working registers for E harmonic minor: low and chalumeau (below written B), clarion (B to C3), and altissimo (above C3). Each register uses the same written notes but different voicing demands and sometimes different practical fingerings.
Low and chalumeau register fingerings (written F# to B)
For the lower octave of written E harmonic minor on B-flat clarinet, you will mostly use chalumeau fingerings. Written F# uses thumb plus first finger left hand and first finger right hand. G# uses the side key above the A key with standard G fingering. A, B, and C# use standard chalumeau patterns.
For written D (concert C), use thumb plus first three fingers left hand and first three fingers right hand. This D is part of the scale when you extend below the tonic. Keep fingers close to the keys to avoid thumps and pitch scoops, especially when moving between low C# and D.
Clarion register fingerings (written B to C3)
In the clarion register, the written E harmonic minor scale starts on written F# above the staff. Use the register key plus thumb and first finger left hand and first finger right hand. G# in clarion uses the same left-hand shape as low G but with the register key, plus the G# side key.
Written B, C#, and D in clarion use standard fingerings with the register key. The raised 7th, written E#, is fingered the same as written F natural with the register key. This enharmonic spelling matters for theory, but your fingers stay on the familiar F pattern.
Altissimo register fingerings (above written C3)
Altissimo fingerings for E harmonic minor vary by instrument and mouthpiece, but some patterns are common. Written F# above high C is often fingered with thumb, register key, first two fingers left hand, and first finger right hand, plus the right-hand F/C key. Many players add or remove side keys to adjust pitch.
Altissimo G# and A often use complex cross fingerings. For example, an altissimo G# may use thumb, register key, first finger left hand, and specific right-hand combinations. Always test these fingerings with a tuner, since bore design and mouthpiece facing change how well each option tunes.
Alternate Fingerings and Tricks for D# (Raised 7th) and F#
D# (written E# in E harmonic minor) and F# often cause the most tuning trouble. Clarinet acoustics make these notes sensitive to venting, embouchure, and air support. Having 2 or 3 reliable alternates for each register helps you match pitch and color in different contexts.
Alternate D# / E# fingerings by register
In chalumeau, low D# is usually fingered with the low E key plus the D#/Eb key. For softer dynamics, some players add extra right-hand fingers to darken the tone. In clarion, written D# above the staff can be adjusted by adding or lifting the right-hand F/C key to bring pitch up or down a few cents.
For written E# (fingered as F) in clarion, experiment with adding the right-hand E/B key or the left-hand sliver key. These additions slightly lengthen the air column and can lower a sharp E#. Use a tuner and record yourself to decide which option blends best in your ensemble.
Alternate F# fingerings by register
Low F# can be sharp or bright. Adding the right-hand E/B key or even the low F key can mellow the sound and lower pitch. In clarion, written F# above the staff often benefits from adding the right-hand F/C key or using a resonance fingering that includes extra right-hand fingers.
In altissimo, F# is highly individual. Many players use a standard F# fingering, then add or subtract side keys to match the harmonic context. Keep a small notebook or digital note of which F# fingerings work best for you in different pieces and tempos.
A useful trick: if your D# is sharp, slightly roll the top joint toward you to cover more tone hole and add a right-hand finger. If it is flat, lighten the embouchure pressure, increase air speed, and try removing auxiliary fingers while keeping the core fingering stable.
Transposition Notes: Written vs. Concert Pitch for B-flat and A Clarinets
Clarinetists must understand how E harmonic minor transposes between concert pitch and written pitch. For a B-flat clarinet, written notes sound a whole step lower. For an A clarinet, written notes sound a minor third lower. This affects how you read parts labeled in E minor or E harmonic minor.
Concert E harmonic minor uses the notes E, F#, G, A, B, C, D#, E. On B-flat clarinet, you write and finger F#, G#, A, B, C#, D, E#, F#. On A clarinet, you write and finger G, A, Bb, C, D, Eb, F#, G. The harmonic minor relationship stays the same, but the key signature changes.
When transposing from piano or score, always think: B-flat clarinet adds a whole step, A clarinet adds a minor third. For example, if the piano part is in E harmonic minor, your B-flat clarinet part will be in F# harmonic minor, while your A clarinet part will be in G harmonic minor.
This understanding also helps with jazz charts. If a rhythm section is playing in concert E minor and you want to improvise using E harmonic minor colors, your B-flat clarinet fingerings will follow F# harmonic minor, and your written key signature will show three sharps plus accidentals for the raised 7th.
Practice Exercises and Technical Tips (Long Tones, Arpeggios, Etudes)
To master E harmonic minor on clarinet, combine slow tone work, pattern drills, and musical etudes. Aim for even tone, stable intonation, and clean finger coordination across the register break. Use a tuner and metronome so your progress is measurable from week to week.
Long tones and interval work
Start with long tones on each scale degree: E, F#, G, A, B, C, D#, E in concert pitch, using written fingerings for your clarinet. Sustain each note for 8 to 12 counts at mezzo piano, then crescendo and decrescendo. Focus on D# and F#, checking them carefully with a tuner.
Next, practice the augmented second between C and D#. Slur C up to D# and back down, then tongue the same pattern. Keep the air steady and avoid biting to reach the higher note. This interval defines the sound of E harmonic minor, so it must feel comfortable and controlled.
Scale, arpeggio, and pattern drills
Practice the E harmonic minor scale in one octave, then two octaves, in eighth notes at a slow tempo such as quarter note equals 60. Gradually increase to 100 or 120 while keeping tone and tuning steady. Use different articulations: slurred, two slurred two tongued, and fully articulated.
Add arpeggios: E minor (E-G-B), B major (B-D#-F#), and dominant seventh (B-D#-F#-A). These chords appear naturally with E harmonic minor. Practice broken chords, thirds, and four-note patterns like 1-2-3-4, 2-3-4-5, and so on, always including the raised 7th.
4 to 6 week practice plan
Week 1 and 2: Focus on long tones, slow scales, and interval work with tuner. Aim to reduce D# pitch drift by about 10 to 15 cents through consistent voicing. Week 3 and 4: Add faster scales, arpeggios, and simple etudes in E minor that you mentally convert to harmonic minor.
Week 5 and 6: Integrate E harmonic minor into repertoire excerpts and improvisation. Set a goal tempo, such as two octave scales at quarter note equals 120 with even tone. Record yourself weekly to track smoother register transitions and more confident intonation on D# and F#.
Historical & Repertoire Context: Classical, Jazz, and Film Uses
The harmonic minor scale has roots in modal traditions from Eastern Europe and the Middle East, where the augmented second interval is common. Western classical theory adopted harmonic minor to create a stronger leading tone to the tonic, which gives minor keys a more dramatic, directional sound.
In classical clarinet literature, E harmonic minor colors appear in works influenced by E minor and B7 harmony. Mozart and later composers used harmonic minor inflections in clarinet passages, especially around cadences. Orchestral clarinet parts in Romantic works often highlight the raised 7th in expressive lines.
In jazz, clarinetists like Benny Goodman and Artie Shaw used harmonic minor flavors when improvising over minor ii-V progressions and dominant chords. E harmonic minor fits naturally over B7 chords resolving to E minor, so practicing this scale prepares you for common jazz and swing patterns.
Film scores and game music often use E harmonic minor for dark, exotic, or suspenseful moods. Clarinet solos in these settings may feature the C to D# leap and chromatic runs around E harmonic minor. Listening for this color will help you recognize when composers want that specific scale sound.
Instrument Anatomy & How It Affects These Fingerings
Clarinet anatomy plays a big role in how E harmonic minor fingerings respond. The cylindrical bore, tone hole placement, and register key design all influence intonation, especially on notes like D# and F#. Understanding these parts helps you diagnose why certain fingerings feel unstable.
The tone holes along the upper and lower joints control pitch by shortening or lengthening the air column. If a tone hole is slightly off-center or a pad does not seal perfectly, notes that use that hole, such as D# or F#, can be sharp, flat, or fuzzy. Check these areas when intonation seems inconsistent.
The register key vents the air column to produce clarion and altissimo notes. Because the E harmonic minor scale crosses the register break, any leak or misalignment around the register tube will affect the transition from written B to C and higher. This can make D# and F# especially unstable.
Barrel length and mouthpiece design also matter. A shorter barrel raises pitch, while a longer barrel lowers it. Mouthpiece facing and chamber shape change how easily the clarinet speaks in clarion and altissimo. Many players find that a slightly longer barrel helps tame sharp D# and F# in E harmonic minor.
Maintenance & Setup Tips to Improve Scale Intonation
Good maintenance and setup make E harmonic minor practice more productive. Before blaming your embouchure, check the instrument for leaks, misaligned joints, and reed or ligature problems. A simple 5 minute check before practice can save hours of frustration with D# and F# tuning.
Quick pad and leak checks
Gently press each key and listen for pad noise or uneven closure. Use a thin strip of cigarette paper under suspect pads, such as those for throat tones and right-hand keys that affect D# and F#. If the paper pulls out easily while the key is pressed, you may have a leak that needs a technician.
Check that tenon corks are snug but not overly tight. Misaligned joints can shift tone hole positions slightly, affecting pitch. Align the bridge key carefully so that upper and lower joint keys move freely without binding, especially around the right-hand stack.
Mouthpiece, reed, and ligature setup
Select a reed strength that allows you to play E harmonic minor long tones without biting. Many intermediate and advanced players use strengths between 2.5 and 3.5, depending on mouthpiece. The reed tip should align with the mouthpiece tip, and the ligature should sit just above the bark.
Experiment with barrel length to fine tune overall pitch. If D# and F# are consistently sharp even with good voicing, try a slightly longer barrel or pull out a millimeter at the barrel and middle joint. Always recheck with a tuner after any adjustment.
Routine cleaning for consistent response
Swab the clarinet after each session to remove moisture that can swell pads and change response. Pay attention to the register tube and tone holes around the right-hand stack, since buildup there affects notes in E harmonic minor. Clean the mouthpiece weekly with lukewarm water and a soft brush.
Store reeds flat and rotate several at once. A warped or waterlogged reed can cause unstable pitch on sensitive notes like D# and F#. Replace reeds that feel unresponsive or that make it hard to sustain even long tones across the scale.
Troubleshooting Common Problems and Quick Fixes
Many players struggle with specific issues when practicing E harmonic minor: sharp D#, uneven tone between chalumeau and clarion, and squeaks at the register break. A systematic troubleshooting approach helps you identify whether the cause is fingering, voicing, or instrument setup.
Sharp or flat D# and F#
If D# is sharp, first ensure your embouchure is not too tight. Relax the jaw slightly, roll in less lower lip, and increase air support. Try adding right-hand fingers or a resonance key to lengthen the air column. If D# is flat, lighten the fingers and remove auxiliary keys while keeping the core fingering.
For F# issues, check that your fingers fully cover the tone holes. In clarion, experiment with alternate F# fingerings that add or remove the right-hand F/C key. Always compare options with a tuner and choose the one that matches the ensemble best, not just the one that feels easiest.
Register transition problems
If the scale squeaks or cracks between written B and C, check your voicing. Keep the tongue high in the mouth, as if saying “ee,” and blow through the break with steady air. Practice slow slurs from A to B to C and back, then add the rest of the E harmonic minor notes around that area.
Also check the register key pad and spring tension. A sluggish or leaking register key makes the clarion notes unstable. If you suspect a mechanical problem, have a qualified technician inspect and adjust the mechanism.
Poor tone or response on specific notes
If one or two notes in the scale sound dull or resistant, such as chalumeau F# or clarion D#, test them with different reeds and mouthpiece positions. Slightly pushing in or pulling out at the barrel can change how these notes resonate. Also ensure that your right-hand fingers are curved and relaxed, not collapsing on the keys.
When quick fixes do not solve the problem, schedule a professional adjustment. Small leaks or misaligned keys are hard to diagnose visually but have a big impact on tone and intonation in scales like E harmonic minor.
Recommended Recordings, Scores, and Further Reading
Listening to skilled clarinetists play in E minor and related keys helps you internalize the sound of E harmonic minor. Seek recordings where the clarinet line clearly outlines the raised 7th and the augmented second between C and D#. Compare different artists' tone and intonation approaches.
Classical players such as Sabine Meyer and Martin Fröst offer recordings of works in E minor and related tonalities where harmonic minor inflections are prominent. Jazz clarinetists like Benny Goodman and Eddie Daniels demonstrate how E harmonic minor colors appear in improvisation over minor and dominant chords.
For scores, public domain archives like IMSLP include editions of Mozart and other composers where clarinet parts in minor keys use harmonic minor figures. Studying these scores while listening helps you see how composers write the raised 7th in melodic lines and cadences.
Further reading in clarinet pedagogy texts and acoustics studies will deepen your understanding of why certain fingerings work better for D# and F#. Look for discussions of harmonic minor scales, altissimo fingerings, and intonation strategies specific to the clarinet.
Key Takeaways
- E harmonic minor on clarinet uses a raised 7th (D#/E#), which demands careful fingerings and voicing, especially across the register break.
- Keep 2 to 4 alternate fingerings for D#/E# and 2 to 3 for F#, and test each with a tuner to manage intonation in different contexts.
- Regular maintenance, thoughtful mouthpiece and barrel setup, and a structured 4 to 6 week practice plan greatly improve tuning, tone, and technical fluency in this scale.
Frequently Asked Questions
What is E Harmonic Minor?
E harmonic minor is a minor scale with a raised 7th degree. The concert notes are E, F#, G, A, B, C, D#, E. The raised 7th (D#) creates a strong pull back to E and forms an augmented second between C and D#, giving the scale its distinctive, dramatic color.
How do I finger the E harmonic minor scale on a B-flat clarinet?
On B-flat clarinet, you play E harmonic minor by fingering the written scale F#, G#, A, B, C#, D, E#, F#. Use standard fingerings for F#, G#, A, B, C#, and D, and finger E# as written F. Pay special attention to D and E# intonation, using alternates as needed for tuning.
Which alternate fingerings help tune D# on clarinet?
Useful alternates for D# include adding right-hand fingers or the F/C key in clarion to lower a sharp note, and removing auxiliary keys to raise a flat note. In some registers, adding the right-hand E/B key or a side key can also adjust pitch by several cents. Always test alternates with a tuner.
How should I practice E harmonic minor to improve intonation and tone?
Practice slow long tones on each scale degree with a tuner, focusing on D# and F#. Work on the C to D# augmented second with smooth slurs and clean articulation. Then add scales, arpeggios, and patterns at gradually increasing tempos, recording yourself weekly to monitor tone and tuning.
Is the E harmonic minor commonly used in clarinet repertoire?
E harmonic minor appears often in clarinet repertoire through E minor pieces and B7 dominant harmonies. Classical solos, orchestral parts, and chamber works use harmonic minor inflections near cadences. Jazz and film music also rely on E harmonic minor colors for expressive, sometimes exotic sounding passages.
Why does my D# sound out of tune and how do instrument setup issues affect it?
D# is sensitive because it relies on specific venting and tone hole combinations. Tight embouchure, uneven finger coverage, or leaks near related pads can push it sharp or flat. Misaligned joints, worn pads, or an unsuitable reed or barrel length also affect D# response and pitch, so regular checks and adjustments are important.
