TL;DR: The French (Boehm) and German (Oehler) clarinet systems are two different instruments that share a name. They diverged in the 1800s, use different keywork and partly different fingerings, take different mouthpieces and reeds, and produce recognizably different sounds: the French system brighter, more flexible, and projecting; the German system darker, more compact, and built for blend. Almost everyone outside Germany and Austria plays Boehm. The Viennese clarinet is a distinct branch of the German family with its own bore and mouthpiece tradition, which is the tradition Gleichweit mouthpieces come from.
If you learned clarinet in the United States, you have almost certainly never held a German-system instrument. Yet the clarinetists of the Berlin Philharmonic and the Vienna Philharmonic play them exclusively, and the sound you hear on those orchestras’ recordings is partly the sound of that different instrument.
Players run into the German system in three ways: they hear a Viennese or German orchestra and wonder why the clarinets sound so different, they consider studying in Europe, or they get curious about a mouthpiece maker from Vienna and want to know whether it will fit their clarinet. This guide answers all three by explaining what the two systems are, how they differ, and what it means for a player on a Boehm instrument.
Table of Contents
- A short history of two systems
- Keywork and fingering differences
- Bore, mouthpiece, and reed differences
- How the two systems sound
- Where each system is played
- Where the Viennese clarinet fits in
- German vs French clarinet comparison table
- Can you get a German sound on a Boehm clarinet?
- Should you switch systems?
- Key Takeaways
- FAQ
- Bring the Viennese tradition to your Boehm clarinet
A short history of two systems
Both systems descend from the same ancestor: the 13-key clarinet that Iwan Müller introduced around 1812. Müller’s design, with its improved pads and added keys, was the first clarinet that could play reasonably in every key on a single instrument. From there, the French and German traditions took different paths.
In Paris, the clarinetist Hyacinthe Klosé and the maker Louis-Auguste Buffet (Buffet jeune) applied ideas from Theobald Boehm’s ring-key flute to the clarinet between 1839 and 1843, patenting the result in 1844. Boehm himself had nothing to do with it, but the name stuck. The Boehm clarinet added ring keys, rearranged the tone holes for better intonation, and gave the little fingers duplicate keys on both sides so that awkward slides could be avoided. It became standard in France by the 1870s and, by the early 20th century, in nearly every country outside Germany, Austria, and Russia. The standard modern Boehm clarinet has 17 keys and 6 rings.
In the German-speaking world, makers kept refining Müller’s layout instead. Carl Baermann and the Munich maker Georg Ottensteiner produced an important version in the 1860s, and the Berlin maker Oskar Oehler (1858–1936) developed the system that bears his name in the early 20th century. The Oehler clarinet keeps the Müller fingering logic but adds mechanisms to correct its weak notes: a “patent C♯,” fork-B♭ correction, and a low E–F correction among them. A typical Oehler clarinet has 22 keys and 5 rings, and a “full Oehler” can have up to 27 keys.
Keywork and fingering differences
Put the two instruments side by side and the most obvious difference is at the little fingers. A Boehm clarinet has four levers for each pinky, arranged so that almost any note can be played from either side. An Oehler clarinet has fewer levers, with rollers between them so that the pinky can slide from one to another. German players do more sliding; French players do more alternating.
The basic fingerings of the main scale are similar enough that a Boehm player can pick out a slow melody on an Oehler clarinet. Beyond that, the systems diverge. The German system uses fork fingerings for B♭ and F (leaving a middle finger up), while Boehm players use side keys or the register-key B♭. The chromatic notes, the throat tones, and especially the altissimo register have different fingerings and different alternate options. Switching systems seriously means relearning a large part of the instrument, which is why so few players do it.
Pro Tip: If you ever try an Oehler clarinet, start with the chalumeau register scale. It is the part of the instrument that feels most familiar and gives you a fair sense of the sound before the fingerings confuse you.
Bore, mouthpiece, and reed differences
The keywork is the visible difference; the bore and mouthpiece are the audible one.
Bore. The numbers are closer than most people expect. A German-system bore is around 14.6 mm, roughly the same diameter as a French professional clarinet. The difference is in shape. German bores stay cylindrical for most of the instrument’s length, while most modern French bores are polycylindrical, with a subtle reverse taper at the top of the upper joint, a design Buffet introduced in the 1950s. The Viennese clarinet, a branch of the German family, uses a noticeably wider bore, around 15 mm.
Mouthpiece. German mouthpieces have a narrower, longer bore and a smaller chamber than French ones, along with a longer facing and a closer tip opening. Where a French mouthpiece typically sits between roughly 1.0 and 1.4 mm at the tip, a German mouthpiece is commonly closer to 0.8 to 1.0 mm. The tenon dimensions differ too, so a German mouthpiece will not fit a Boehm barrel and a Boehm mouthpiece will not play in tune on a German instrument.
Reeds and ligature. German-cut reeds are slightly narrower and shaped for the German facing, and German players generally use harder reeds than their French-system colleagues. Traditionally the reed is held on with wound string rather than a metal ligature, though modern ligatures for German mouthpieces exist. The combination of closer tip, longer facing, and harder reed is a large part of why the German setup feels more resistant and sounds more compact.
If you want to understand how these variables work on your own instrument, our guides to clarinet mouthpiece tip openings and how to choose a clarinet mouthpiece are the place to start.
How the two systems sound
Generalizing about sound is risky, because the player matters more than the equipment. But the tendencies are consistent enough that experienced listeners can often identify the system on a recording.
The French system tends to sound brighter, more flexible, and more projecting. It responds quickly, bends pitch easily, and suits the soloistic, virtuosic writing of the French repertoire and the demands of large modern halls. The German system tends to sound darker, more centered, and more covered, with a narrower dynamic and pitch flexibility but an exceptional ability to blend. It is a sound built for the orchestra, and the Berlin and Vienna clarinet sections are its reference recordings.
Neither is better. They are two answers to the question of what a clarinet should sound like, and many players on Boehm instruments spend years chasing some of the German warmth through their choice of mouthpiece and reed.
Where each system is played
The Boehm system is used almost everywhere: the Americas, France, Britain, Italy, Spain, Scandinavia, Eastern Europe, Asia, and Australia. The Oehler system remains the standard in Germany and Austria, where conservatories teach it, orchestras require it, and makers such as Wurlitzer, Schwenk & Seggelke, and Leitner & Kraus build it.
Two other systems are worth knowing. The Albert or “simple” system, an older relative of the German system, survives in Greek, Turkish, Balkan, and klezmer music and among some traditional New Orleans jazz players. And the Reform-Boehm system, developed by Fritz Wurlitzer in the mid-20th century, combines a German-style bore and mouthpiece with Boehm fingerings, so that players who want the German sound do not have to relearn the instrument. It has a small but loyal following in the Netherlands and elsewhere.
Where the Viennese clarinet fits in
Vienna is part of the German-system world, but it has its own instrument. The Viennese clarinet shares the Oehler keywork family but uses a wider bore, its own mouthpiece geometry, and its own reed tradition, all maintained by a small circle of makers, teachers, and the players of the Vienna Philharmonic. The result is the warm, vocal, blend-first sound that we describe in detail in The Viennese clarinet tradition.
That tradition is where Gleichweit mouthpieces come from. Johannes Gleichweit works in Vienna and makes mouthpieces for German and Viennese-system clarinets as well as Boehm models. The Boehm versions carry a French facing and standard Boehm tenon dimensions, so they fit any Buffet, Selmer, Yamaha, Backun, or similar clarinet, while bringing the Viennese design philosophy of precise, CNC-machined geometry and a centered, warm tone to players on the French system. Our article on crafting the Viennese clarinet sound goes deeper into what that means in practice, and if you are wondering how to say the name, we have a short guide to pronouncing Gleichweit.
German vs French clarinet comparison table
| Feature | French (Boehm) system | German (Oehler) system |
|---|---|---|
| Origin | Klosé and Buffet, Paris, patented 1844 | Oskar Oehler, Berlin, early 20th century, from the Müller and Baermann systems |
| Keys and rings | 17 keys, 6 rings (standard) | Typically 22 keys, 5 rings; up to 27 keys on a full Oehler |
| Little-finger keys | Four levers per side, duplicated for alternates | Fewer levers with rollers for sliding |
| Bore | About 14.6 mm, polycylindrical | About 14.6 mm, long cylindrical; Viennese about 15 mm |
| Mouthpiece | Wider bore and chamber, tip around 1.0 to 1.4 mm | Narrower, longer bore, closer tip around 0.8 to 1.0 mm, longer facing |
| Reeds | French cut, standard width | German cut, slightly narrower, usually harder |
| Ligature | Metal, fabric, or leather | Traditionally string |
| Sound tendency | Brighter, flexible, projecting | Darker, centered, blend-oriented |
| Where used | Almost everywhere | Germany, Austria |
Can you get a German sound on a Boehm clarinet?
Not exactly, but you can move a long way in that direction, and many American orchestral players do. The tools are the same variables that separate the two systems:
- A closer tip opening with a longer facing. This is the single biggest step. It adds resistance, centers the tone, and rewards a firmer reed. Our closed-tip and medium-tip Gleichweit models are built on exactly this idea.
- A slightly harder reed matched to that facing, so the sound stays compact rather than spreading.
- A barrel that stabilizes pitch and adds focus. See how barrels alter resonance.
- Voicing and air. A high tongue position and slow, warm, well-supported air do as much as any piece of equipment. Our guide to clarinet embouchures covers the technique side.
What you cannot change is the bore, so a Boehm clarinet will always keep some of its own character. That is fine. The goal is not to imitate Berlin but to borrow the warmth and center that make the German sound so appealing while keeping the flexibility that makes the French system so useful.
Should you switch systems?
For most players outside Germany and Austria, no. Switching means a new instrument (often two, B♭ and A), new mouthpieces, new reeds, a partial relearning of fingerings, and a very short list of teachers and repair technicians in your area. It makes sense if you are moving to study or audition in a German or Austrian conservatory or orchestra, where the German system is expected. Otherwise the smarter investment is to bring the parts of that sound you admire to the instrument you already play.
Key Takeaways
| Point | Details |
|---|---|
| Two systems, one ancestor | Both descend from Müller’s 13-key clarinet; the French branch became the Boehm system (1844), the German branch became the Oehler system (early 1900s). |
| Keywork and fingerings differ | Boehm has 17 keys and duplicate pinky levers; Oehler has 22 or more keys with rollers, fork fingerings, and different altissimo fingerings. |
| The sound lives in the bore and mouthpiece | German mouthpieces are narrower with closer tips and harder reeds; bores differ in shape more than in diameter. |
| French is bright and flexible, German is dark and blended | Neither is better; each tradition optimized for its own repertoire and halls. |
| Vienna is its own branch | A wider bore and distinct mouthpiece tradition, kept alive by the Vienna Philharmonic and makers such as Gleichweit. |
| You can borrow the German sound | A closer tip, longer facing, firmer reed, good barrel, and warm voicing move a Boehm clarinet a long way toward it. |
FAQ
Can I use a German mouthpiece on my Boehm clarinet?
No. The tenon dimensions and bore do not match, and even if it physically fit, the intonation would be badly off. Use a mouthpiece made for the Boehm system. Gleichweit’s Boehm models are built to standard Boehm dimensions with a French facing for exactly this reason.
Is the Oehler clarinet harder to play?
It is harder to learn if you already play Boehm, because the fingerings differ. On its own terms it is not harder; German students learn it as their first instrument. The setup is generally more resistant, which some players find demanding and others find stabilizing.
Do the Berlin and Vienna Philharmonic clarinetists play German-system instruments?
Yes. Berlin plays the Oehler system, and Vienna plays the Viennese variant of the German system. Both are part of why those orchestras’ clarinet sections sound the way they do.
Which system do jazz players use?
Almost all jazz clarinetists play Boehm. Some traditional New Orleans and world-music players use the older Albert system, which is related to the German family.
What is a Reform-Boehm clarinet?
A clarinet with a German-style bore and mouthpiece but Boehm fingerings, developed by Fritz Wurlitzer in the mid-20th century for players who wanted the German sound without relearning the instrument.
Bring the Viennese tradition to your Boehm clarinet
You do not need a new instrument to borrow the best of the German-speaking world’s clarinet sound. Gleichweit mouthpieces bring Viennese precision to standard Boehm clarinets, with closed-tip models such as the B7-4 (1.16 mm) for players who want maximum center and control, medium-tip models such as the B9-1 (1.24 mm) for an all-around balance, and open models for those who want more flexibility. If you are not sure where you sit on that spectrum, the Closed-Tip Mouthpiece Test Box or the Variety Mouthpiece Test Box lets you compare five mouthpieces at home for a week and keep only the one that sounds like you.
Two systems, one goal: a sound you recognize as your own. Understanding how the German and French traditions built theirs is the first step toward building yours.
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