Clarinet subtone is a very soft, breath-dominated tone produced by controlled, reduced air speed, a relaxed but supported embouchure, and a slightly open oral cavity. To create it, reduce air pressure and slow the airstream, relax and slightly lower the jaw and embouchure while keeping reed contact steady, and practice long, pianissimo tones and reed-only buzzing to build control.

What is clarinet subtone?

Clarinet subtone is a deliberately soft, breath-tinted sound that keeps core pitch while adding a gentle whisper around the tone. Players use slower, carefully supported air, a more relaxed embouchure, and slightly more oral space to thin the sound without losing control. Subtone is most common in the low register but can color notes across the instrument.

Unlike simply playing quietly, subtone emphasizes the noise of air and reed vibration relative to the pure clarinet core. The result is a velvety, intimate sound that feels close and conversational. Jazz clarinetists often use subtone for ballads, but classical and contemporary players also use it for color, contrast, and expressive shading in soft passages.

Subtone is not a special fingering system. It is a tone concept and a set of physical adjustments. You keep the same fingerings but change how the reed vibrates by altering air speed, pressure, and embouchure firmness. This makes subtone a powerful expressive tool once you can control it at will.

A short history: subtone in clarinet performance and Martin Freres archives

Clarinet subtone emerged clearly in early 20th century jazz recordings, especially in New Orleans and Chicago scenes. Players like Johnny Dodds and Jimmie Noone used soft, breathy low-register tones to shape phrases. Their 1920s sides for labels such as Okeh and Vocalion reveal early examples of expressive subtone in ensemble contexts.

By the swing era, Benny Goodman and Artie Shaw used subtone selectively on ballads, often in the chalumeau register. Their recordings for Columbia and RCA show a more refined, controlled subtone, closer to a dark pianissimo than a heavily airy sound. This style influenced generations of big band and small group clarinetists.

Classical clarinetists also explored subtone-like colors, though they rarely used the term. Performers such as Reginald Kell and later Gervase de Peyer shaped very soft low-register tones that bordered on subtone, especially in chamber music. Their recordings demonstrate how subtle color changes can support phrasing without breaking classical tone ideals.

Historic Martin Freres clarinets, often used in European salon and light music, produced a focused yet supple chalumeau. Surviving cylinders and early discs from French ensembles reveal a gentle, almost vocal softness on low notes. This character aligns closely with what modern players call subtone, even if the term was not used then.

Today, subtone is a standard part of jazz clarinet vocabulary and an increasingly accepted color in contemporary classical and crossover works. Understanding its historical roots helps players choose when to use a vintage-style breathy subtone versus a more modern, controlled whisper tone that blends with current ensemble expectations.

How clarinet anatomy affects subtone (mouthpiece, reed, bore and bell)

Clarinet subtone starts at the reed and mouthpiece. Tip opening, facing length, and baffle shape all influence how easily the reed responds at very soft dynamics. A medium tip opening, around 1.05 to 1.10 mm, with a medium-long facing often balances control and flexibility for subtone-focused playing.

A high or aggressive baffle can make subtone brighter and less stable, because it favors a fast, focused airstream. A lower or more gradual baffle usually supports a darker, more forgiving subtone. Mouthpieces designed for orchestral playing often work well, since they prioritize stability at soft dynamics and a centered core.

Reed strength and cut shape how the reed responds to slow air. Many players find that a reed in the 2.5 to 3.0 range (French cut) or medium-soft to medium (American cut) gives enough resistance to support the sound without choking at pianissimo. Too soft a reed collapses and squeaks; too hard a reed refuses to speak at low air speeds.

Bore size and profile also affect subtone. A slightly smaller or more gradual polycylindrical bore often yields a focused, stable low register that holds pitch when played softly. Larger, freer bores can feel lush but may require more embouchure discipline to keep subtone from spreading or going flat.

The bell shape and flare influence how the lowest notes project in subtone. A bell with a gentle flare and accurate tone hole undercutting helps low E, F, and G speak easily at very soft dynamics. If the bell is mismatched or poorly vented, subtone on the lowest notes can feel stuffy or unstable, even if the rest of the instrument responds well.

Keywork and pad sealing matter too. Slight leaks at low joint or bell pads often show up first when you attempt subtone. The reduced air pressure exposes any inefficiency in the system. A clarinet that feels fine at mezzo forte may suddenly refuse to produce a clean subtone if there is even a small leak in the low register.

Breath control, embouchure and oral cavity – the mechanics of subtone

Subtone depends on slow, steady air supported from the diaphragm and lower abdominal muscles. Think of blowing warm air to fog a window, but with a narrower, more focused stream. The pressure is lower than for a full forte tone, yet the support must remain constant to keep the reed vibrating evenly.

Embouchure for subtone is relaxed but not loose. The corners stay firm and slightly forward, while the lower lip cushions the reed with a bit more softness. Many players slightly lower the jaw and allow a tiny bit more reed into the mouth, which lets the reed vibrate with a wider, more flexible motion at low air speeds.

The oral cavity acts as a resonator. For subtone, a slightly more open oral space, with the tongue resting lower and more toward the middle of the mouth, encourages a warmer, breathier color. Think of an “ah” or “aw” vowel rather than a tight “ee”. This reduces brightness and helps prevent accidental overtones or squeaks.

Throat and neck tension can ruin subtone. If the throat constricts, the air stream becomes uneven and the pitch wobbles. Aim for a relaxed, yawning feeling in the back of the throat. Some players practice silent yawns or gentle sighs through the instrument to feel this open pathway before adding full subtone playing.

Dynamic control is key. Subtone should sit around pianissimo to piano, but you must be able to swell slightly and diminish without losing the color. Practice gentle crescendos and decrescendos on long tones while keeping the same embouchure shape. Only the air speed and support should change, not the basic setup of your mouth.

Finally, mental concept matters. If you imagine a thin, fragile sound, your body may under-support and the tone will collapse. Instead, imagine a strong, focused core wrapped in a soft halo of air. This image encourages enough support to keep the reed stable while allowing the breathy edge that defines subtone.

Toning exercises and progressive practice routine for subtone mastery

Start subtone training with reed-only and mouthpiece-only work. Hold the reed between thumb and forefinger, then blow very softly to produce a stable buzz. Aim for 5 to 8 seconds of even sound. This teaches you how little air can still keep the reed vibrating, and how steady your support must be.

Next, place the mouthpiece and barrel on the clarinet and play long tones at pianissimo. Use written G above the staff (concert F) as a reference. Aim for a clear, centered pitch with a hint of air around the sound, not a full subtone yet. Hold for 8 seconds, rest, and repeat, focusing on smooth starts and releases.

Then move to chalumeau notes, starting on low G, F, and E. Play each note as softly as possible while keeping the pitch stable and the sound even. Experiment with slightly lowering the jaw and opening the oral cavity until you hear the tone thin and soften into subtone. Record yourself to track changes in color and stability.

After single-note control, practice subtone slurs. Use simple patterns like low G to B, F to A, and E to G, all at soft dynamics. Keep the subtone color consistent between notes, avoiding sudden bursts of full tone. This builds finger coordination and air control so subtone survives motion, not just static notes.

Introduce scales and arpeggios in subtone, limited to one or two octaves in the lower and middle registers. Use a metronome at a slow tempo, such as quarter note equals 60, and play legato. Focus on evenness of color and volume. If a note pops out too loudly, pause and isolate the interval that caused the change.

Finally, apply subtone to musical phrases. Choose a ballad melody, a slow movement, or a simple folk tune. Decide where subtone will enhance expression, such as phrase endings or echo responses. Alternate between normal tone and subtone versions of the same phrase to feel how your body adjusts and to refine your artistic choices.

Hand position, posture and left/right hand adjustments that help subtone

Posture influences subtone more than many players realize. Sit or stand with a tall spine and relaxed shoulders so the air column stays open. If you collapse the chest or crane the neck forward, the air pathway narrows and subtone becomes unstable. Think of the clarinet as an extension of a straight, open torso.

Hand position should be relaxed, with curved fingers and minimal pressure on the keys. Excess tension in the hands often spreads to the forearms, shoulders, and neck, which then affects breath control. Lightly touch the keys, using just enough force to seal the pads. This is especially important in the low register, where subtone exposes leaks.

The left hand thumb angle can subtly change the instrument angle and embouchure pressure. For subtone, many players benefit from a slightly more open angle, allowing the clarinet to rest a bit closer to the body. This can reduce jaw pressure and encourage a more relaxed embouchure, as long as the thumb still covers the register hole securely.

Right hand support matters too. The thumb rest should carry the instrument weight without strain. If the thumb rest is too low or too high, you may clamp with the jaw to compensate, which kills subtone flexibility. Consider adjusting the thumb rest or using a cushion to find a position that lets the right hand stay loose.

Finger motion should be minimal and close to the keys. Large, heavy finger movements can jolt the instrument and disturb the delicate air balance needed for subtone. Practice slow, soft scales while watching your hands in a mirror. Aim for smooth, quiet key action so the sound remains stable even at the softest dynamics.

Finally, check for body symmetry. If you habitually twist to one side or lean on one leg, the air support can become uneven. For reliable subtone, center your weight, keep both feet grounded, and allow the clarinet to hang naturally. This stable base makes it easier to produce a consistent whisper tone across the range.

Setup and maintenance tips to improve subtone (reeds, mouthpiece, instrument care)

Reed condition is critical for subtone. Use a rotation of at least 4 to 6 reeds, and retire any that feel dead, warped, or unresponsive at soft dynamics. Lightly balance reeds with fine sandpaper or a reed knife so both sides respond evenly. A reed that works at mezzo forte may still be unreliable for subtone if it is uneven.

Choose reed strength carefully. Many players achieve stable subtone with strengths between 2.5 and 3.0 on common brands. If subtone collapses or squeaks, try a slightly stronger reed. If the sound will not start at very soft air, try a slightly softer reed. Make changes in small steps and test each reed over several days.

Mouthpiece cleanliness affects subtone response. Residue inside the mouthpiece and on the rails can interfere with reed vibration. Clean the mouthpiece regularly with warm water and a soft brush, then dry thoroughly. Avoid hot water, which can warp the mouthpiece. A clean facing and table help the reed seal and respond at low air speeds.

Instrument maintenance should focus on airtightness. Have a technician check pad seating, especially on low E, F, and G keys, and on the register key. Even a tiny leak can make subtone nearly impossible. Ask for a light-feeling key regulation so you do not need to press excessively hard to seal the pads.

Tenon fit also matters. If joints are loose, air can leak or the instrument can wobble as you play. Use cork grease regularly and have compressed or worn corks replaced. A snug but not overly tight fit keeps the bore alignment stable, which supports consistent subtone response across the instrument.

Control humidity to protect wood clarinets and pads. Rapid humidity changes can cause cracks or pad warping, which show up first as subtone problems. Use a case humidifier in dry climates and avoid leaving the instrument in hot cars or near heaters. Stable conditions help the clarinet keep a reliable seal for soft playing.

Troubleshooting common subtone problems (squeaks, weak low register, instability)

When subtone squeaks, the usual causes are too little embouchure support, a reed that is too soft or warped, or a sudden spike in air speed. Firm up the corners of the mouth, check that the reed tip aligns perfectly with the mouthpiece, and slow the air slightly. If squeaks persist, test a slightly stronger or fresher reed.

If the low register sounds weak or refuses to speak in subtone, suspect leaks or pad issues. Play low E, F, and G at normal volume. If they feel stuffy or resistant, have a technician check pad seating and tone hole cleanliness. In the meantime, slightly increase air support and embouchure firmness while keeping the jaw relaxed.

Instability, where the subtone wobbles in pitch or breaks into overtones, often comes from inconsistent air support or tongue position. Practice long tones with a tuner, aiming to keep the needle within 5 to 10 cents. Focus on a steady abdominal engagement and a stable “ah” vowel in the mouth. Avoid moving the tongue during the note.

An overly airy subtone that lacks core may indicate too open an embouchure or too low air pressure. Gently increase the firmness of the lower lip against the reed and slightly speed up the air while keeping the volume soft. Listen for a clear pitch center surrounded by air, not a cloud of noise with no defined note.

If subtone works on some notes but not others, isolate the problem intervals. For example, if low G to B is fine but F to A breaks, practice that specific slur slowly, adjusting air and embouchure until it stabilizes. Sometimes a small change in finger technique or hand angle can fix a localized issue.

Use diagnostic tests to separate equipment from technique problems. Try reed-only buzzing, then mouthpiece-only, then mouthpiece and barrel. If the sound is unstable at each stage, the issue is likely technique. If instability appears only when the full clarinet is assembled, you may have leaks or mechanical issues that need professional attention.

Subtone across styles: jazz, chamber music, and contemporary uses

In jazz, subtone is a core expressive device. Players like Benny Goodman, Artie Shaw, Jimmy Hamilton, and more recently Eddie Daniels and Ken Peplowski use subtone to shape intros, endings, and ballad melodies. The style often favors a warm, breath-rich low register that contrasts with brighter, more projecting tones in up-tempo tunes.

Jazz subtone often leans more breathy than classical uses, especially in small group settings where the clarinet is closely miked. Players may exaggerate the air noise for emotional effect, particularly on descending lines and held notes at phrase ends. Listening to classic recordings from the 1930s through the 1950s provides many models of this approach.

In chamber music, subtone usually appears as an extreme soft color within a generally pure tone concept. Clarinetists might use a subtle subtone on inner voices, echo phrases, or distant effects. The goal is often to blend with strings or piano while still maintaining intonation and clarity, so the subtone is more controlled and less airy.

Contemporary composers sometimes call for explicit breathy or half-air sounds that resemble subtone. Extended techniques like air-only notes, multiphonics, and timbral trills can grow out of subtone practice, since both require fine control of air, embouchure, and oral cavity. A solid subtone technique makes these modern colors easier to execute reliably.

Film and theater pit players frequently use subtone to match vocalists or create intimate moods. In these contexts, the clarinet often needs to sit under dialogue or singing, so a soft, warm subtone helps avoid overpowering the texture. Microphones then carry the sound to the audience without requiring more volume from the player.

Across all styles, the key is intentional use. Subtone should be a chosen color, not an accidental byproduct of weak support. Decide where it serves the music, practice those passages specifically, and be ready to switch instantly between full tone and subtone as the style and context demand.

Recording subtone: mic choice, placement and room tips + listening references

Recording subtone requires capturing both the core pitch and the delicate air noise. Large diaphragm condenser microphones often work well, thanks to their sensitivity and warmth. Models commonly used for woodwinds provide a good starting point. For home setups, a quality USB condenser can still capture subtone detail if placed carefully.

Mic placement should balance proximity and natural sound. Start with the microphone about 30 to 45 cm (12 to 18 inches) from the clarinet, aimed between the bell and the lower joint, slightly off-axis to reduce key noise. Closer placement increases detail but can exaggerate breath noise; farther placement smooths the sound but may lose subtlety.

The recording room should be quiet and moderately treated. Hard, reflective rooms can make subtone sound harsh or thin, while overly dead rooms can feel lifeless. Use rugs, curtains, and soft furnishings to tame reflections. Avoid fans, air conditioners, and computer noise, which become very noticeable when recording soft subtone passages.

Set recording levels conservatively. Subtone is quiet, but unexpected louder notes or key noises can still cause peaks. Aim for average levels around -18 to -12 dBFS with peaks no higher than -6 dBFS. You can raise the overall level in mixing, but you cannot fix clipped subtone. Use headphones to monitor for hiss and room noise.

For reference listening, explore archive recordings from the Library of Congress and Smithsonian Jazz collections. Early jazz clarinet sides reveal how subtone was captured with vintage microphones and recording chains. Compare these with modern high-resolution recordings of leading clarinetists to understand how recording technology changes the perception of subtone.

When mixing, use gentle compression and minimal high-frequency boosting. Too much compression can flatten subtone dynamics, and aggressive EQ can exaggerate hiss or key noise. Often, a small low-mid boost around 200 to 400 Hz and a subtle high-shelf lift around 6 to 8 kHz are enough to keep subtone warm and present without losing its whisper quality.

Key takeaways

• Clarinet subtone is a controlled, very soft, breath-tinted tone created by slow, steady air, a relaxed but supported embouchure, and an open oral cavity.
• Equipment and maintenance matter: balanced reeds, a stable mouthpiece, and an airtight clarinet make subtone far easier to produce consistently.
• Progressive long-tone practice, focused troubleshooting, and style-aware listening are the fastest paths to a reliable, expressive subtone across musical contexts.

FAQ

What is clarinet subtone?

Clarinet subtone is a very soft, breath-dominated tone where the core pitch remains clear but is surrounded by a gentle whisper of air. It is produced with slower, carefully supported air, a relaxed embouchure, and a slightly more open oral cavity, most often used in the low register for expressive color.

How do I produce a reliable subtone on the clarinet?

Use slow, steady air supported from the abdomen, relax the jaw slightly while keeping firm mouth corners, and open the oral cavity with an “ah” feeling. Practice long, pianissimo tones on low notes, starting with 8-second holds, and use reed-only and mouthpiece-only exercises to train stable, low-pressure reed vibration.

Which reeds and mouthpieces work best for subtone?

Many players find a medium-strength reed, around 2.5 to 3.0, on a mouthpiece with a medium tip opening (about 1.05 to 1.10 mm) and medium or medium-long facing works well for subtone. The setup should feel responsive at soft dynamics, with enough resistance to support the sound without collapsing or squeaking.

Why does my subtone squeak or sound airy?

Squeaks usually come from too little embouchure support, a reed that is too soft or warped, or sudden spikes in air speed. An overly airy sound often means the embouchure is too open or the air pressure is too low. Firm the corners, slightly speed up the air, and test a fresher or slightly stronger reed.

How long should I practice subtone each day to see improvement?

Ten to fifteen focused minutes per day is enough for steady progress. Aim for 3 sets of long tones, scales, and simple phrases at pianissimo, totaling around 18 to 24 subtone exercises. Consistency matters more than duration, so practice subtone daily rather than in occasional long sessions.

Can subtone be used in classical music or is it only for jazz?

Subtone can be used in classical music as a subtle color, especially in chamber works and soft orchestral passages. Classical players typically use a more controlled, less airy subtone than jazz players. The key is to match the style and blend with the ensemble, using subtone sparingly and intentionally.

How do I record subtone without losing detail?

Use a sensitive condenser microphone placed 30 to 45 cm from the clarinet, slightly off-axis between the bell and lower joint, in a quiet, moderately treated room. Record at conservative levels to avoid clipping, monitor with headphones for noise, and apply gentle compression and EQ so the subtone remains warm, clear, and natural.