TL;DR: Clarinet throat tones are the short-tube notes just below the break: open G, G♯/A♭, A, and B♭ on top of the staff. They sound thinner, feel less stable, and often sit out of tune because very little of the clarinet is vibrating, and throat B♭ even uses the small register-key vent as its tone hole. You can make them much fuller with resonance fingerings (adding right-hand fingers), steady air and voicing, a relaxed embouchure, and smart tuning with the barrel. If the throat tones stay stuffy after all that, check your setup: reed strength, mouthpiece tip opening, and barrel all play a role.
Almost every clarinetist notices it eventually: the low register is dark and full, the clarion is clear and ringing, and then open G, A, and B♭ come out pale, wobbly, or a little sharp. Students often think they are doing something wrong. Teachers know the clarinet itself is part of the problem.
The good news is that throat tones respond well to a small set of fixes. This guide explains why the throat register behaves the way it does, gives you a resonance fingering chart, and walks through a practice routine and a setup checklist for yourself or your students.
Table of Contents
- What are clarinet throat tones?
- Why throat tones sound weak and stuffy
- Throat tone resonance fingerings
- Air, voicing, and embouchure
- Tuning throat tones with the barrel
- How your setup affects throat tones
- A 10-minute throat tone routine
- Key Takeaways
- FAQ
- Find a setup that supports your throat tones
What are clarinet throat tones?
The throat tones are the four written notes at the top of the clarinet’s lowest register: open G, G♯/A♭, A, and B♭, all sitting in or just above the treble staff. They get their name from where the sound comes out: the tone holes near the top of the upper joint, the “throat” of the instrument, just below the barrel. Some teachers also include the E, F, and F♯ just below, since those notes start to share the same lighter character.
Here is how the four core throat tones are usually fingered on a Boehm-system B♭ clarinet:
- Open G: no fingers and no thumb. The whole instrument is open below the top tone holes.
- G♯/A♭: the small G♯ key, pressed with the side of the left index finger.
- A: the A key, pressed with the left index finger just above the first tone hole.
- B♭: the A key plus the register key, with the left thumb off its tone hole.
Because they sit right below the break, the throat tones are where the chalumeau register ends and the clarion register is about to begin. If you need a refresher on how the registers fit together, see our guide to clarinet registers explained.
Why throat tones sound weak and stuffy
Most of the clarinet’s notes use a long column of air inside the bore. Low E uses almost the whole instrument. Open G uses only the barrel, the mouthpiece, and the very top of the upper joint. That short vibrating tube is the root of nearly every throat tone complaint.
- Fewer supporting resonances. Acoustic measurements from the University of New South Wales clarinet acoustics project show that by the throat register, notes have only a couple of strong resonances supporting them, which is why these fingerings are easier to “bend” in pitch and harder to hold steady.
- A thinner, brighter color. With fewer resonances lining up, the throat tones lose some of the dark, hollow quality of the chalumeau. Players describe them as pale, nasal, or “white.”
- Throat B♭ is a compromise. The register key’s hole is small and placed where it works best for overblowing into the clarion register. When it doubles as the tone hole for throat B♭, it is not in an ideal spot or size for that note, so B♭ tends to be the stuffiest of the group.
- Pitch tendencies. On many clarinets, the throat tones lean sharp, especially at soft dynamics. But as we will see below, pulling the barrel affects them more than the rest of the instrument, so a heavily pulled barrel can leave them flat instead.
Throat tone resonance fingerings
A resonance fingering adds fingers below the open tone hole. The note still speaks from the same hole, but the extra closed keys lengthen the effective tube a little. That usually lowers the pitch slightly and adds body to the sound. In a Vandoren resource on resonance fingerings, Mitchell Estrin, Professor Emeritus at the University of Florida, recommends the following options as starting points:
| Throat tone | Standard fingering | Common problem | Resonance fingering to try |
|---|---|---|---|
| Open G | Nothing down | Thin, unfocused, can wobble | Right pinky on the F/C key; for soft, sustained notes add right-hand fingers 1 and 3. Some players use the left ring finger alone. |
| G♯/A♭ | G♯ key | Bright and slightly sharp | Left-hand fingers 2 and 3, right-hand fingers 2 and 3, plus the right pinky F/C key |
| A | A key | Pale tone, sharp when soft | Same as G♯/A♭ |
| B♭ | A key + register key | Stuffiest note; often sharp | Same as G♯/A♭; if still sharp at very soft dynamics, add right-hand finger 1 |
Two rules make these fingerings work in real music:
- Dynamics change the recipe. Estrin notes that louder playing lowers the pitch, so loud passages usually need fewer extra fingers, while soft passages (which run sharp) can take more.
- Your setup changes the recipe. The best combination depends on your clarinet, mouthpiece, reed, embouchure, and air. Use a tuner and a recording, not habit, to choose.
Pro Tip: Keep your right hand down. Leaving the right-hand fingers on their rings while you play throat tones does double duty: it adds resonance, and your hand is already in place when you cross the break. Our guide to crossing the break on clarinet shows exercises built on this habit.
Air, voicing, and embouchure
Throat tones react to every small change in how you blow. If yours are wild, your air or embouchure is probably changing more than you think.
Keep the air moving
Many players back off the air on open G and A because those notes feel “easy,” and the sound sags. Treat the throat tones exactly like low C or clarion D: same support, same steady air speed. Our guide to optimizing clarinet airflow covers breathing exercises that carry straight over to this register.
Use consistent voicing
Voicing is the shape of your tongue and the inside of your mouth. A tongue that drops low (“oh” or “aw”) tends to make throat tones flat and spread; a tongue that is very high and tense can make them pinched and sharp. Most teachers suggest a fairly high, relaxed tongue, similar to the vowel “ee” or “ih,” held the same way you voice your clarion notes. The key word is consistent: don’t let the tongue collapse when you arrive on open G.
Don’t bite
Biting raises pitch and thins the sound, and throat tones exaggerate both effects. Keep firm corners and a cushioned lower lip. For a refresher, read what embouchure is and why it shapes every note.
Pro Tip: Try a quick “slur test.” Slur slowly from low C up to throat A and back without changing your mouth. If the A jumps in pitch or loses its center, your voicing or lip pressure is changing on the way up. Practice the slur until the A sounds like it belongs to the same instrument as the C.
Tuning throat tones with the barrel
Throat tones respond to barrel adjustments differently from the rest of the clarinet. According to R Clarinet Products’ tuning guide, the throat tones drop much more in pitch than other notes when the barrel is pulled, and this effect is stronger on higher-pitched clarinets (more on B♭ than on A clarinet).
That creates a common trap. Many players tune to third-space clarion C, which tends to run sharp. To bring that C down, they pull the barrel a lot, and the throat tones end up flat relative to the rest of the instrument. The guide suggests a different approach:
- Tune open G (concert F) with the barrel.
- Then tune clarion G by pulling slightly at the middle joint, which brings the clarion register down without dragging the throat tones flat.
If you need a large barrel pull just to play in tune, your barrel is probably too short for your setup. A slightly longer barrel lets you play with the barrel pushed in, which keeps the throat tones better aligned. For more on how length, bore, and material change pitch and color, see how barrels alter resonance in your clarinet.
How your setup affects throat tones
If the throat tones still sound stuffy after fixing fingerings, air, and tuning, look at your equipment. On these notes, the mouthpiece, reed, and barrel make up a large share of the sounding tube, so players who compare barrels or mouthpieces often hear the biggest difference on open G, A, and B♭.
| Symptom on throat tones | Likely setup cause | What to try |
|---|---|---|
| Airy, fuzzy, or weak | Reed too soft or worn out; leaking ligature | Try a fresh reed or a half strength harder; check the reed is sealed on the table |
| Stuffy, hard to start, small sound | Reed too hard for the tip opening | Try a half strength softer, or a slightly more open mouthpiece |
| Wild pitch, hard to hold steady | Very open tip with a soft reed; voicing changes | Try a more closed tip with a slightly firmer reed |
| Flat throat tones when clarion C is in tune | Barrel pulled too far; barrel too short | Tune open G first; try a longer barrel |
| Thin throat tones only on one clarinet | Leaking upper-joint pads, worn tenon cork, or a dirty register tube | Have a technician check for leaks; keep the register tube clean |
The reed and mouthpiece work as a pair. A reed that is right for one tip opening can be wrong for another, which is why our clarinet reed strength chart includes recommendations by tip opening, and why our tip opening guide is worth reading before you change either one.
A 10-minute throat tone routine
This routine works for students and professionals alike. Use a tuner and, if you can, record yourself.
- Long tones (3 minutes). Play open G, A, and B♭ for 8 slow counts each, first with standard fingerings, then with resonance fingerings. Listen for the fingering that gives the fullest sound at the best pitch.
- Dynamic swells (2 minutes). On throat A, swell from piano to forte and back. Watch the tuner: the pitch should stay steady. Add or remove resonance fingers until it does.
- Slurs from below (2 minutes). Slur from low C to throat A and from low D to throat B♭. Keep the voicing and the throat tone’s color matching the low note.
- Across the break (3 minutes). With your right hand down, slur throat A to clarion B, then throat B♭ to clarion C. Aim for no bump in sound between the notes.
Done regularly, this short routine is one of the most reliable ways to even out the throat register. If you hear squeaks during the slurs, our guide to reducing clarinet squeaks covers the most common causes.
Key Takeaways
| Topic | What to remember |
|---|---|
| What they are | Open G, G♯/A♭, A, and B♭ just below the break, played from the top of the upper joint. |
| Why they’re weak | A very short vibrating tube with few supporting resonances; throat B♭ uses the register key vent as a tone hole. |
| Fastest fix | Resonance fingerings: add right-hand fingers and the right pinky; use more fingers at soft dynamics. |
| Technique | Steady air, consistent high voicing, no biting. |
| Tuning | Tune open G with the barrel and the clarion at the middle joint, so the throat tones don’t end up flat. |
| Equipment | Reed strength, tip opening, and barrel all affect throat tones. Test changes side by side. |
FAQ
What notes are the throat tones on clarinet?
The throat tones are written open G, G♯/A♭, A, and B♭, the top notes of the chalumeau register just before the break. Some teachers also include the E, F, and F♯ just below them.
Why do my clarinet throat tones sound so bad?
Throat tones use only a short section of the clarinet, so they have less resonance and a thinner color than other notes. Weak air, a low tongue position, biting, a poorly matched reed, or a leaking upper joint make the problem worse. Resonance fingerings and steady air help the most.
Are throat tones on clarinet sharp or flat?
On many clarinets they lean sharp, especially when played softly. But they drop more than other notes when you pull the barrel, so players who pull the barrel a lot to tune a sharp clarion C often end up with flat throat tones. Check them individually with a tuner.
Should beginners use resonance fingerings?
Yes, in moderation. Keeping the right hand down on throat tones is a great beginner habit because it improves tone and makes crossing the break easier. Save the more complex resonance combinations for long notes and slow music once the student’s technique is secure.
Can a mouthpiece or barrel improve throat tones?
It can. Because the mouthpiece and barrel make up a large part of the sounding tube on throat tones, a better-matched mouthpiece, reed, or barrel often changes these notes more than any others. The only reliable way to know is to compare options side by side on your own clarinet.
Find a setup that supports your throat tones
If you have worked on fingerings, air, and tuning and your throat tones still feel stuffy, the next step is to test equipment, and to test it properly: on your own clarinet, with your own reeds, in your own practice room.
For a $40 test fee, a Gleichweit Test Box puts several Gleichweit B♭ mouthpieces in your practice room for 7 days to compare against your current setup. Players who like a firmer reed and a focused, controlled sound usually start with the Closed-Tip Test Box (1.01–1.20 mm). The Medium-Tip Test Box (1.17–1.24 mm) suits most all-around players, and the Open-Tip Test Box (1.27–1.40 mm) is for players who prefer softer reeds and more flexibility. Not sure where you fit? The Variety Test Box spans 1.16–1.40 mm, so you can hear how tip opening changes your open G, A, and B♭.
If tuning is the issue, Gleichweit ebonite barrels come in different lengths: the B2 barrel in 64, 65, and 66 mm, and the B3 barrel in half-millimeter steps (62.5, 64.5, and 65.5 mm) for players whose ideal pitch falls between standard sizes.
For more on running a fair comparison, read how to test mouthpieces at home. Throat tones will always need a little care, but with the right fingerings and a well-matched setup, they can sound like they belong to the same beautiful instrument as every other note.