How do you play a stable high C (C6) in the altissimo register? Start with a solid clarion G, then use a recommended high C fingering (often thumb, register key, 1-2-3 left hand, 1-2 right hand, plus side keys as needed). Keep a firm but flexible embouchure, fast focused air, and support from the diaphragm. Approach C6 by slurring from clarion G or A, keeping the throat relaxed and the air steady.

What is the Altissimo Register? (definitions & archival variants)

The altissimo register on the clarinet is the highest written register, starting roughly at written C6 and extending upward as far as the player and instrument allow. Some teachers describe altissimo as beginning at written C5, but modern pedagogical and orchestral practice usually treat C6 and above as true altissimo.

Clarinetists encounter conflicting definitions because historical method books, band methods, and orchestral excerpts use different cutoffs. Many band texts label notes above written G5 as “high register,” while advanced clarinet treatises reserve the term “altissimo” for the extreme top, beginning around C6 or even D6.

For practical practice planning, it helps to separate three zones of high playing. The upper clarion runs from written G5 to B5, the entry altissimo zone covers C6 to G6, and the extreme altissimo zone covers notes above G6. Each zone demands more precise voicing, air speed, and fingering choices.

Historically, 19th century clarinet parts rarely used the extreme altissimo. Composers such as Carl Maria von Weber and Johannes Brahms typically wrote up to written C6 or D6. In the 20th century, composers like Igor Stravinsky and Olivier Messiaen pushed clarinetists higher, which drove more systematic exploration of altissimo fingerings.

Modern players must treat the altissimo register as a normal, usable part of the instrument. That means knowing clear definitions, understanding how the register relates to chalumeau, throat, and clarion, and building a methodical routine to make those notes stable, in tune, and expressive.

Clarinet Registers & Acoustics: How Altissimo is Produced

The clarinet behaves acoustically like a cylindrical tube that is closed at the mouthpiece and open at the bell. Because of this, its natural harmonic series favors odd-numbered partials. Register changes are not simple octaves. Instead, the clarinet jumps by twelfths when the register key is used correctly.

Players usually divide the clarinet into four working registers. The chalumeau covers low E to written E above the staff, the throat tones cover F to B above the staff, the clarion covers B above the staff to written C6, and the altissimo covers C6 and higher. Each register uses different combinations of tone holes and voicing strategies.

Altissimo notes rely heavily on overblown harmonics and careful venting. Instead of simply opening the register key, the player must choose specific side keys and ring keys to create the right venting pattern. This alters the nodal structure of the air column so that higher partials speak cleanly without unwanted lower notes or squeaks.

The barrel and bore shape influence how easily altissimo speaks. A slightly shorter barrel can raise pitch and brighten response in the high register, while a more focused bore can strengthen the upper partials. Small differences in taper or tone hole placement can change which altissimo fingerings are most stable on a given instrument.

The register key and high F sharp key act as critical vents in altissimo. The register key opens a small hole that encourages the air column to favor the third harmonic, while the high F sharp key and side keys fine tune which harmonic is favored. Effective altissimo playing is a partnership between these vents, the embouchure, and the internal shape of the oral cavity.

Voicing inside the mouth is as important as the external keys. Raising the tongue toward an “ee” vowel, narrowing the oral cavity, and directing air toward the reed can help lock in higher partials. When this voicing matches the chosen venting pattern, altissimo notes speak more like normal notes instead of feeling like forced squeaks.

Altissimo Fingerings: Consolidated Charts and Variations

Altissimo fingerings vary by clarinet brand, bore design, and mouthpiece, so no single chart works for every player. Still, there are stable “core” fingerings that work for most B-flat clarinets and provide a reliable starting point. From there, players adjust for intonation, color, and response.

Written high C (C6) is a key reference point. A common fingering is: left hand thumb with register key, first, second, and third fingers of the left hand, first and second fingers of the right hand, plus the right-hand F sharp/C sharp key. Some players add the right-hand E/B key or adjust side keys to fine tune pitch and color.

For written C sharp 6 and D6, many clarinetists use side key combinations that resemble clarion F sharp and G, but with extra venting. For example, C sharp 6 often uses thumb with register key, first and second fingers of the left hand, plus the top side key. D6 may add more right-hand fingers or a different side key depending on the instrument.

High E6 and F6 often have multiple viable fingerings. One E6 fingering uses thumb with register key, first and second fingers of the left hand, and the right-hand F sharp/C sharp key plus side keys. Another E6 fingering uses a more open right hand for a brighter color. Players must test these against a tuner and in musical context.

Above F6, fingerings become more instrument-specific. G6, A6, and B flat 6 often use combinations of the left-hand top two fingers, register key, and selected side keys with an almost open right hand. These notes demand careful experimentation, as even small changes in finger choice can shift pitch by 20 to 30 cents.

Because of this variability, serious players should maintain a personal altissimo fingering chart. Record at least two options for each note from C6 to G6, noting which is best for soft dynamics, which centers pitch most easily, and which blends best in ensemble contexts. Revisit this chart as equipment changes.

Sample Core Altissimo Fingerings (Written Pitches)

Use these as starting points and adjust for your instrument. All fingerings assume B-flat clarinet. “T” = thumb, “R” = register key, numbers = finger count from top, “SK” = side key, “RH” = right hand.

High C6: T + R, LH 1-2-3, RH 1-2, RH F sharp/C sharp key. Optional: add RH E/B key if sharp. This fingering often gives a stable, centered C6 suitable for most dynamics.

High C sharp 6: T + R, LH 1-2, top SK. Optional: add RH 1 for stability. This fingering tends to be bright and slightly sharp, so many players add extra fingers to lower pitch and darken tone.

High D6: T + R, LH 1-2, RH 1-2, top SK. Some clarinets respond better with RH 1 only. Experiment with adding the RH F sharp/C sharp key to stabilize response at softer dynamics.

High E6: T + R, LH 1, RH 1-2, RH F sharp/C sharp key, top SK. This fingering often speaks clearly but can be sharp. Adding RH 3 or the low F/E keys can help bring pitch down and add warmth.

High F6: T + R, LH 1, RH 1, RH F sharp/C sharp key, middle SK. Some players prefer nearly open right hand with only the F sharp/C sharp key. Test both fingerings for color and stability in your setup.

Embouchure, Airflow & Breath Support Techniques

Altissimo playing demands a refined embouchure that is firm enough to control the reed but flexible enough to let the high harmonics vibrate freely. The lower lip should act as a cushion, not a clamp, with the corners of the mouth firm and slightly forward to seal the mouthpiece.

Think of the embouchure as a stable frame that does not change dramatically between registers. Instead of biting harder to reach high notes, increase air speed and refine internal voicing. Excess jaw pressure chokes the reed, flattens pitch, and makes squeaks more likely in the altissimo register.

Breath support comes from the abdominal and lower back muscles, not from the throat. Inhale silently, expanding the ribs and lower torso. As you play, imagine pushing a steady column of air forward from the diaphragm, keeping the throat open as if you were saying “ah” inside the mouth.

For altissimo, the air must be both fast and focused. Many players benefit from thinking of blowing “through” the clarinet to a point several feet in front of them. This mental image encourages a more energized airstream without unnecessary tension in the neck or shoulders.

Voicing inside the mouth is critical. For clarion and altissimo, raise the tongue toward an “ee” or “ih” position, narrowing the air channel. This helps the reed vibrate at higher frequencies. Avoid dropping the tongue or opening the throat too much, which can cause the note to fall to a lower partial or squeak.

Practice changing registers without changing embouchure pressure. Slur slowly from clarion G to altissimo C6 using your chosen fingering, focusing on keeping the jaw steady while only the tongue position and air speed adjust. This builds reliable control that translates directly to repertoire.

Simple Diaphragmatic Breathing Exercise

Stand or sit tall. Place one hand on your abdomen and one on your chest. Inhale for 4 counts, feeling the abdomen expand more than the chest. Hold for 2 counts, then exhale on a hiss for 8 counts, keeping the hiss steady. Repeat, gradually extending the exhale to 12 or 16 counts.

Practice Routines, Exercises & Warm-ups for Reliable Altissimo

Reliable altissimo playing comes from consistent, structured practice. Short, focused sessions work better than sporadic, exhausting attempts. Plan 10 to 20 minutes of targeted altissimo work within a broader daily routine that also includes tone, scales, and articulation in lower registers.

Begin each session with long tones in chalumeau and clarion to stabilize embouchure and air. Then add long tones on entry altissimo notes such as written C6, D6, and E6. Hold each note for 8 to 12 counts, focusing on steady pitch, centered tone, and relaxed throat.

Next, practice slow slurs from clarion into altissimo. For example, slur from clarion G5 to C6, then back down. Keep the air continuous and avoid accenting the high note. Add neighboring intervals such as A5 to D6 and B5 to E6. These slurs teach your body how to shift voicing smoothly.

Scale fragments are another powerful tool. Practice two-octave scales that extend into altissimo, but only as far as you can maintain control. For instance, play a G major scale from low G to written D6, then gradually extend to E6 and F sharp 6 as your stability improves.

Arpeggios that cross registers help integrate altissimo into real music. Practice broken chords that start in chalumeau, pass through clarion, and land in altissimo. Keep the rhythm even and the dynamic moderate, focusing on even tone quality across all registers.

Finally, apply altissimo work to short musical excerpts or etudes. Choose passages that use a few altissimo notes repeatedly rather than wide-ranging extremes. This builds confidence and shows you how your new control behaves under real musical pressure.

Altissimo Warm-up Routine (10-15 minutes)

Start with 2 minutes of diaphragmatic breathing. Then play 3 minutes of long tones from low E to clarion B, followed by 3 minutes of long tones on C6, D6, and E6. Spend 4 minutes on slow slurs from clarion G, A, and B to C6, D6, and E6. Finish with 2 minutes of a simple scale that reaches C6.

Progress Benchmarks for 6-12 Weeks

Set clear goals to track progress. After 2 to 3 weeks, aim to produce C6 and D6 reliably at mezzo forte with minimal squeaks. After 4 to 6 weeks, add E6 and F6, focusing on intonation and tone color. By 8 to 12 weeks, work toward two octaves of clean slurs into and out of altissimo.

Document your progress in a practice journal. Note which fingerings feel most stable, which dynamic levels are comfortable, and which intervals cause problems. This record helps you refine your routine and identify patterns that need extra attention.

Equipment & Setup Guidance (mouthpiece, reed, barrel, keys)

Equipment cannot replace good technique, but it can either support or hinder altissimo development. A well-balanced mouthpiece and reed setup makes high notes speak more easily and consistently. Intermediate and advanced players should choose gear that offers stability, not just brightness.

Mouthpieces with medium tip openings and medium facing lengths often provide the best compromise for altissimo. Very open mouthpieces can feel powerful but may require too much embouchure control in the highest register. Very closed mouthpieces can feel easy at first but may limit dynamic range and flexibility.

Reed strength should match your embouchure and mouthpiece. Many players find that a strength 3 to 3.5 reed on a standard classical mouthpiece offers enough resistance for control without excessive effort. Softer reeds can make altissimo speak quickly but often sound thin or unstable at soft dynamics.

The barrel length and design affect pitch and response in the high register. A slightly shorter barrel can raise pitch and clarify altissimo, especially in warm rooms or with flat-playing instruments. Some players keep two barrels of slightly different lengths to adapt to changing conditions.

Keywork must be in good mechanical condition for altissimo to respond well. Sticky side keys, misaligned pads, or weak springs can cause subtle leaks that only become obvious in the highest register. Regular maintenance by a qualified technician is important for serious altissimo work.

Ligature choice also plays a role. A ligature that holds the reed securely without crushing it allows the reed to vibrate freely across all registers. Test ligatures by playing long tones on C6 and D6 at soft dynamics, listening for stability and ease of attack.

Maintenance Steps That Support Altissimo Success

Small maintenance issues that barely affect chalumeau can ruin altissimo. A tiny leak or warped reed might not be obvious in low notes but will cause squeaks, instability, or refusal to speak in the highest register. Build a simple pre-practice checklist to keep your setup reliable.

Start by inspecting reeds. Look for chips, cracks, or warping at the tip. Rotate several reeds in a regular rotation so none are overused. Allow new reeds to break in gradually over several days, playing them for short periods before relying on them for altissimo practice.

Keep the mouthpiece clean. Residue on the facing or inside the chamber can interfere with vibration, especially for high notes. Rinse the mouthpiece regularly with lukewarm water and a soft brush, avoiding hot water that could warp the material.

Check key pads and springs for consistent sealing. Gently press each key while shining a light into the tone holes to look for leaks. Pay special attention to the register key, side keys, and high F sharp key, as these are critical for altissimo venting.

Clean the barrel and tenons. Dust or moisture buildup at the joints can affect tuning and response. Wipe tenons gently and ensure corks are properly greased so the joints fit snugly without excessive force. A secure, airtight fit supports stable intonation in the high register.

Monitor humidity and lip condition. Overly dry lips can cause the reed to slip or respond unevenly, especially at soft dynamics in altissimo. Sip water regularly and avoid practicing long altissimo sessions in extremely dry environments without breaks.

Pre-practice Setup Checklist

Before each altissimo-focused session, quickly run through this checklist. Confirm that your reed is in good condition and properly aligned on the mouthpiece. Check that the ligature is snug but not overtightened. Test the register key and side keys for smooth, quiet action.

Play a few long tones in chalumeau and clarion to confirm that all notes speak easily and that there are no unexpected leaks or resistance. Then play a short scale into C6. If anything feels unusually difficult or unstable, address equipment or maintenance issues before pushing higher.

Troubleshooting Common Altissimo Problems (squeaks, pitch instability)

Altissimo problems usually fall into a few categories: squeaks, notes that do not speak at all, unstable pitch, or weak, unfocused tone. A systematic troubleshooting approach helps you identify whether the cause is embouchure, air, voicing, fingering, or equipment.

If you get frequent squeaks, first check your embouchure and moisture. Dry lips or a dry reed can cause partial vibrations that lead to squeaks. Moisten the reed thoroughly, relax the throat, and ensure that the lower lip is cushioning the reed rather than biting into it.

If a note does not speak, test your air support. Play the same fingering at a louder dynamic with faster air. If the note appears at higher volume, your original air speed was likely too slow. Then work backward to find the minimum air speed that still produces a stable tone.

For sharp pitch, slightly relax the jaw and lower the tongue position, moving from an “ee” toward an “eh” vowel. Add extra fingers to the fingering if needed, such as right-hand 3 or low F/E keys, to lengthen the air column and lower pitch. Always confirm changes with a tuner.

For flat pitch, increase air speed and slightly firm the embouchure corners without biting. Experiment with alternative fingerings that use fewer extra fingers or different side keys. Some altissimo notes have one fingering that tends to be flat and another that tends to be sharp; choose based on context.

If the tone is weak or unfocused, check diaphragmatic support. Practice a few strong, supported long tones in clarion, then immediately play the target altissimo note with the same feeling of air pressure. Avoid trying to “place” the note with the jaw alone.

Decision-Tree Style Diagnostic Steps

When an altissimo note misbehaves, follow this sequence. First, confirm the fingering and check for leaks by testing neighboring notes. Second, test the reed and mouthpiece by playing clarion notes; if they are unstable, change the reed. Third, adjust air speed and voicing before changing embouchure pressure.

If problems persist, try an alternative fingering for the same pitch. Some instruments simply favor different venting patterns. Keep a record of which fingerings solve which problems so you can recall them quickly in rehearsal or performance.

Martin Freres: Historical Notes & Legacy Instruments (archive references)

Historical clarinet design played a significant role in how players approached the altissimo register. As keywork expanded and bore designs became more refined, clarinetists gained access to more reliable fingerings and improved response in the highest notes.

Martin Freres instruments are frequently cited in historical discussions as examples of careful tone hole placement and precise keywork that supported clear high-note production. Players and teachers noted that such design precision made it easier to experiment with and standardize altissimo fingerings.

Archival writings from the early and mid 20th century mention that certain Martin Freres clarinets offered particularly stable high C and D in the written range, which encouraged performers to treat those notes as musically reliable rather than special effects. This, in turn, influenced how composers wrote for the instrument.

As clarinet pedagogy evolved, teachers began to document altissimo fingerings that worked consistently across multiple instrument models. Historical accounts often reference instruments with well-balanced intonation and even response as ideal platforms for this exploration, and Martin Freres clarinets appear among those examples.

For players interested in the history of altissimo development, examining period instruments and method books shows how design and pedagogy evolved together. Legacy instruments highlight the importance of precise keywork, vent placement, and bore design in making the altissimo register a practical part of everyday clarinet playing.

Key Takeaways

Altissimo on the clarinet becomes reliable when you combine clear fingerings, refined embouchure and voicing, and consistent practice. Treat C6 and its neighbors as core notes to master first, then expand gradually into higher territory with patience and precision.

• Define altissimo as written C6 and above, and focus first on stabilizing C6, D6, and E6 with 2 reliable fingerings each.
• Use a steady embouchure, fast focused air, and subtle tongue voicing changes instead of extra jaw pressure to reach high notes.
• Practice daily long tones, slurs, and scale fragments that cross into altissimo, aiming for fewer than 1 squeak per 20 attempts.
• Maintain your equipment carefully, especially reeds, mouthpiece, register key, and side keys, to avoid leaks that sabotage high notes.
• Troubleshoot systematically by checking air, voicing, and alternative fingerings before blaming your instrument or embouchure.

FAQ

What is altissimo register?

The altissimo register on the clarinet is the highest written register, typically defined as starting around written C6 and extending upward. It relies on overblown harmonics, specialized fingerings, and refined voicing, and it demands more precise control of air, embouchure, and internal tongue position than the lower registers.

Which fingerings work best for the high C (C6) and surrounding altissimo notes?

A common stable fingering for written C6 is thumb with register key, left hand 1-2-3, right hand 1-2, plus the right-hand F sharp/C sharp key. C sharp 6 and D6 often use combinations of left hand 1-2 with side keys and selected right-hand fingers. Always test multiple options for each note on your own instrument.

How should I adjust my embouchure and airflow to produce stable altissimo tones?

Keep a firm but flexible embouchure with the corners forward and the lower lip cushioning the reed. Avoid biting. Use fast, supported air from the diaphragm and raise the tongue toward an “ee” position to focus the airstream. Change voicing and air speed rather than jaw pressure when moving into altissimo.

Why am I getting squeaks or unstable pitch in the altissimo register?

Squeaks and unstable pitch often come from slow air, inconsistent voicing, dry or worn reeds, or small leaks in the register or side keys. Check your reed condition, moisten it fully, confirm that the keys seal properly, then increase air speed and refine tongue position before changing fingerings or embouchure pressure.

What mouthpiece and reed combinations help with altissimo play?

Many players find that a medium tip opening mouthpiece paired with a reed strength around 3 to 3.5 offers a good balance of control and response for altissimo. The best combination is one that lets you produce clear, stable C6 to E6 at soft and medium dynamics without excessive effort or biting.