How to perform a clear clarinet breath attack in 3 steps: 1) Take a slow diaphragmatic inhale so the abdomen expands while the chest stays relaxed. 2) Place the mouthpiece with a stable embouchure and still tongue. 3) Release air with a gentle, focused “AH” exhale so the reed starts cleanly. Practice with 3 drills: long-tone breath attacks on low Bb, 8 short-burst attacks at 60 bpm, and soft-to-loud crescendos started only by breath.

What is clarinet breath attack?

Clarinet breath attack is a way of starting a note using only air, without the tongue touching the reed. The player sets the embouchure, seals the oral cavity, and then releases a controlled airstream so the reed begins vibrating cleanly. Breath attacks train airflow control, embouchure stability, and tone focus from the very first millisecond of the note.

Unlike tongued attacks, which use the tongue to define the start, breath attacks rely on precise balance between air pressure and embouchure resistance. This balance prevents hissing, fuzzy onsets, or notes that fail to speak. Clarinetists use breath attacks in lyrical passages, soft entrances, and as a core exercise to refine overall sound and projection.

For intermediate players, breath-initiated attacks reveal weaknesses that tonguing can hide. If support is inconsistent or the embouchure collapses, the note will start with noise instead of pitch. Systematic breath attack practice builds the foundation for reliable articulation, dynamic control, and expressive phrasing across the full range of the instrument.

The physics and mechanics: diaphragm, airflow, and embouchure

Breath attack starts with the diaphragm, a dome-shaped muscle under the lungs. When it contracts, it pulls downward and creates low-pressure space so the lungs can fill. For clarinetists, this diaphragmatic inhale allows deep, stable air support that can be released in a controlled way to start the reed vibration cleanly.

On the exhale, coordinated abdominal and intercostal muscles regulate the speed and pressure of the airstream. The clarinet reed, resting on the mouthpiece table, vibrates when air pressure overcomes the resistance of the embouchure and reed stiffness. The first instant of airflow is critical: too explosive and the sound splatters, too weak and the note whispers or hisses.

Embouchure frames and focuses this energy. The upper teeth rest on the mouthpiece, the lower lip cushions the reed, and the corners draw in toward the mouthpiece. This creates a stable seal and consistent resistance. Inside the mouth, the tongue position and oral cavity shape act like an adjustable resonator that influences response and clarity of the breath attack.

The bore of the clarinet, especially in the throat and upper joint, also affects how quickly the instrument responds to air. A well-sealed instrument with healthy pads and corks allows the reed vibration to travel efficiently. Any leaks increase turbulence and can turn a clean breath attack into a hiss or delayed response, even with good technique.

Quick setup: mouthpiece placement and embouchure checks

Before working on clarinet breath attack, confirm consistent mouthpiece placement. Most players need about 8-12 millimeters of mouthpiece in the mouth, depending on the facing and reed strength. Too little mouthpiece chokes the reed and causes unstable attacks, while too much can create a wild, unfocused start.

Set the upper teeth gently on the mouthpiece with a thin cushion of lip or a mouthpiece patch for comfort. The lower lip should roll slightly over the bottom teeth, forming a firm but flexible cushion against the reed. Think of the lower lip as a platform that supports the reed, not a clamp that crushes it and blocks vibration.

Draw the corners of the mouth inward toward the mouthpiece, as if saying “EE” quietly. This creates a focused embouchure that resists the air column evenly. Avoid smiling or pulling the corners outward, which thins the sound and destabilizes the breath attack. The chin should stay flat and gently stretched, not bunched or rounded.

Inside the mouth, keep the tongue relaxed and slightly arched, as if saying “AH” or “EE” without sound. The tongue should not touch the reed for a breath attack. Any accidental contact will create a false articulation or a noisy start. Maintain a small, open space in the throat to allow a smooth, low-noise airstream.

Core exercises (step-by-step)

Core breath attack exercises should build from simple long tones to short bursts and dynamic changes. These drills target common problems such as hissing, weak projection, and unstable embouchure. Use a tuner and, when possible, a recording device so you can hear the clarity of the onset and track progress over time.

Exercise 1: Initial breath attack long tones

Start with low Bb (written) or another comfortable low note. Set the embouchure and fingers before you breathe. Take a slow, silent diaphragmatic inhale. Then release the air with a gentle “AH” feeling so the note begins cleanly without tongue. Sustain for 8-12 seconds, focusing on a stable, centered sound.

Repeat this process 5-8 times, resting between repetitions. Listen for any hiss, pitch scoop, or delay at the start. If you hear noise, reduce initial air speed slightly while keeping support firm. If the note fails to speak, increase air pressure gradually until the reed responds immediately at the start of the note.

Exercise 2: Short-burst breath attacks

On the same low note, set a metronome to 60 bpm. For each click, play a short note started only with breath, about quarter-note length, then release. Rest for one beat between each note. The goal is 8 clear, identical attacks in a row with no tongue and no hissing noise.

Once you can do this at 60 bpm, increase to 72, then 80 bpm. Keep each note centered and resonant, not clipped or explosive. If clarity suffers at faster tempos, slow down again and focus on coordinating the breath release with a stable embouchure and silent tongue.

Exercise 3: Dynamic volume control breath attacks

Choose middle register G or A, where the clarinet responds easily. Start each note with a soft breath attack at piano, then crescendo to forte over 4 beats, and decrescendo back to piano over 4 beats. Use a metronome at 40-60 bpm. The entire 8-beat note should remain steady in pitch and timbre.

Repeat this pattern 4-6 times, then change to a different note in the same register. Listen closely to the very beginning of the note. The attack should be as clear and centered at piano as it is at forte. This exercise trains the ability to start notes softly without fuzz or delay.

Exercise 4: Palm Exhale drill (without instrument)

Hold your hand a few inches in front of your mouth. Form your clarinet embouchure without the instrument. Inhale with the diaphragm, then exhale a focused stream of air onto your palm, feeling a steady, warm flow. Avoid any explosive burst at the start. Repeat 10 times, then transfer the same feeling to the mouthpiece and clarinet.

This drill isolates airflow from finger and instrument variables. It helps you sense the difference between a smooth, supported start and a choppy, noisy one. Use it as a reset whenever your breath attacks become inconsistent or tense during practice.

Exercise 5: Candle Flame control (optional safety note)

If safe and supervised, place an unlit candle or a small strip of tissue 15-20 centimeters from your mouth. Form your embouchure and exhale so the flame or tissue moves steadily without flickering wildly. Then practice starting and stopping the air gently, simulating breath attacks without sudden gusts.

Once you can control the flame or tissue smoothly, repeat the same feeling on the clarinet. This exercise trains fine control of air speed and pressure, which directly affects the clarity of breath attacks. Always prioritize safety and avoid practicing near flammable materials.

Practice progressions and suggested tempos/measurements

A clear progression helps transform breath attack drills into lasting habits. Start with slow, long exercises, then gradually increase tempo, range, and dynamic variety. Track your work in a practice log, noting which notes, dynamics, and tempos feel secure and which still produce hissing or delayed response.

For long-tone breath attacks, begin at 40-50 bpm, holding each note for 8-12 seconds with at least 8 seconds of rest between. Aim for 6-10 successful repetitions per note. After one week, extend to higher notes, including throat tones and clarion register, always prioritizing clarity of onset over length.

For short-burst attacks, use 60 bpm as a baseline. Play 8 attacks in a row on one note, then rest for 4 measures. Repeat on two additional notes in the same register. When you can complete this pattern without any noisy or failed starts, increase the tempo to 72, then 80, and eventually 96 bpm over several weeks.

Dynamic control exercises work best between 40 and 60 bpm. Start with 4 beats at piano, 4 beats at forte, and 4 beats back to piano. Once stable, shorten the transition to 2 beats per dynamic while keeping the breath attack at the beginning of each note clean and centered. Always listen for pitch stability during crescendos and decrescendos.

As you advance, apply breath attacks to simple melodic patterns. For example, play a 4-note scale fragment where each note begins with a breath attack at mezzo piano. Use a metronome at 60-72 bpm and focus on identical clarity and tone on every note. This bridges the gap between isolated drills and musical contexts.

Common mistakes and troubleshooting breath attacks

Hissing or fuzzy note starts usually come from turbulent airflow or tongue interference. If you hear a hiss, check that the tongue is completely off the reed and not hovering too close. Then reduce the initial air speed slightly while keeping the support firm. A smoother, more gradual release often clears the noise without weakening the attack.

Weak projection or notes that do not speak cleanly often indicate shallow chest breathing or insufficient diaphragmatic support. Practice slow, silent inhales that expand the abdomen rather than lifting the shoulders. Use the Palm Exhale drill to feel a steady, warm airstream, then transfer that sensation to the clarinet for the first instant of the note.

Blurred or inconsistent attacks can result from unstable embouchure. If the corners move or the chin collapses at the start of the note, the reed will respond unpredictably. Practice setting the embouchure fully before inhaling. Use a mirror to check for a flat chin and inward corners, then start the note with only the breath, not any jaw movement.

Another common issue is overblowing at the start, especially in the clarion register. This creates a splat or squeak instead of a clean attack. To fix this, think of starting the note with a slightly warmer, slower air at the very beginning, then increasing speed once the pitch has spoken. The Candle Flame drill helps refine this fine control of air onset.

Use targeted tests to confirm your fixes. For example, after adjusting embouchure, play 3 breath attacks in a row on the same note, recording yourself. If all three starts sound identical and clear, the adjustment is likely correct. If each start sounds different, continue refining support, tongue position, or mouthpiece placement until consistency improves.

Maintenance and reed/mouthpiece considerations that affect attacks

Equipment and maintenance strongly influence breath attack clarity. A reed that is too soft can collapse under air pressure, causing airy or unstable starts. A reed that is too hard may respond slowly, forcing you to overblow and creating a harsh or explosive attack. Aim for a reed strength that speaks easily but still offers resistance for dynamic control.

Before practice, inspect the reed tip against a light source. The tip should appear even and symmetrical. If one side is darker or chipped, attacks may sound unbalanced or noisy. Lightly adjust or replace reeds that show warping, cracks, or heavy discoloration. Rotate at least 3-4 reeds in regular use to maintain consistent response.

Reed conditioning also matters. Soak the reed in your mouth for 2-3 minutes before serious breath attack work so the fibers are flexible but not waterlogged. Wipe away excess moisture from the table side to ensure a good seal with the mouthpiece. Store reeds in a ventilated reed case to prevent warping that can disrupt clean onsets.

Mouthpiece cleanliness affects airflow and vibration. At least once a week, clean the mouthpiece with lukewarm water and a soft brush, avoiding hot water that can warp the material. Remove any residue from the window and rails where buildup can disturb the reed seal and introduce turbulence at the start of the note.

Instrument condition also plays a role. Leaky pads, worn corks, or misaligned keys can cause slow or uneven response, especially on low notes. If you notice that certain notes consistently resist clean breath attacks despite good technique, have a qualified technician check for leaks or mechanical issues that may be undermining your efforts.

Expected player outcomes and progress benchmarks

With consistent practice, clarinetists can expect measurable improvements in breath attack clarity and control. After 4-6 weeks of focused work, most players can produce reliable, noise-free onsets across the low and middle registers at moderate dynamics. This foundation supports more expressive phrasing and smoother transitions between tongued and breath-initiated notes.

Concrete benchmarks help track progress. One useful goal is to achieve 10 consecutive clear breath attacks on low Bb at mezzo piano, each sustained for at least 8 seconds, with stable pitch and tone. Another is to perform 8 short-burst attacks at 60-80 bpm on three different notes without any hissing or delayed response.

Dynamic control offers another benchmark. Aim to start a note at pianissimo on written Bb3, using only breath attack, then crescendo to forte over 4 beats and decrescendo back to pianissimo over 4 beats, all at 40-60 bpm. When you can repeat this pattern three times in a row with consistent clarity, your breath control is becoming reliable.

Subjective outcomes also matter. Teachers and listeners may notice that your sound seems to “speak” more immediately in a medium recital hall, with a centered core even at soft dynamics. Entrances at the beginning of phrases feel less risky, and you can shape lines with more confidence because the first instant of each note is predictable.

Over time, strong breath attack skills support advanced techniques such as legato phrasing without audible tongue, soft entrances in orchestral passages, and clear articulation at a wide range of dynamics. These skills also make it easier to adapt to new reeds or mouthpieces, since your air and embouchure provide a stable, consistent foundation.

Key takeaways

• Clarinet breath attack starts the note with air alone, training precise control of diaphragm, airflow, and embouchure.
• Core drills include long-tone breath attacks, short-burst attacks at 60-80 bpm, and dynamic crescendos that begin with a soft, clean onset.
• Reed choice, reed conditioning, and mouthpiece cleanliness directly affect attack clarity, especially at soft dynamics.
• Track progress with specific benchmarks, such as 8-10 consecutive clean attacks on low Bb and stable soft-to-loud breath-initiated notes.

FAQ – common questions about breath attacks

What is clarinet breath attack?

Clarinet breath attack is a way of starting a note using only air, without the tongue touching the reed. The player sets a stable embouchure, then releases a controlled airstream so the reed begins vibrating cleanly. Breath attacks help develop consistent support, clear onsets, and refined tone across all dynamics.

How do I practice a clean breath attack on clarinet?

Start with long tones on an easy low or middle note. Set your embouchure, inhale with the diaphragm, then release air with a gentle “AH” feeling so the note begins without tongue. Use a metronome at 40-60 bpm, and repeat 6-10 times, listening for any hiss or delay at the start.

Why does my note start with a hiss or fuzzy sound?

A hissing or fuzzy onset usually comes from turbulent airflow, tongue too close to the reed, or an unstable embouchure. Check that the tongue is completely off the reed, reduce any explosive burst of air, and firm up the corners of the mouth. Also inspect your reed and mouthpiece for warping or buildup that can disturb the seal.

How long should I practice breath attack exercises each day?

Most intermediate players benefit from 5-10 minutes of focused breath attack work as part of a daily warm-up. Quality is more important than duration. Aim for a small number of highly focused repetitions with clear goals, rather than many unfocused attempts that reinforce inconsistent habits.

Does reed choice affect breath attack?

Yes, reed choice strongly affects breath attack response. A reed that is too soft can sound airy or unstable at the start, while a reed that is too hard may respond slowly and encourage overblowing. Choose a strength that speaks easily but offers enough resistance for dynamic control, and keep reeds well conditioned and evenly balanced.