E-flat clarinet

The E-flat (E♭) clarinet is a small member of the clarinet family. It is smaller than the more common B♭ clarinet and sounds a perfect fourth higher. It is a transposing instrument in E♭, meaning it sounds a minor third higher than written. The E-flat clarinet is about 49 centimetres (19 in) long.

In Italian, the term quartino refers to the E♭ clarinet, especially in band scores. The term terzino can also be used for small clarinets.

The E♭ clarinet is used in orchestras, concert bands, and marching bands. It is very important in clarinet choirs because it can play high melodies that would be too high for the B♭ clarinet. While there are not many solo pieces for it, composers like Berlioz and Mahler have used it as a solo instrument in orchestras.

Tonal range

Many books about arranging music for instruments say the highest note the E-flat clarinet can play is G6. This is lower than the highest note for A or B-flat clarinets, which can reach C7.

Use in concert and military bands

The E♭ clarinet became popular in bands in the early 1800s. It replaced the high F clarinet. It is not common in school bands, but is often used in college and advanced groups. Usually, only one person plays the E♭ clarinet in a band because it has a bright, loud sound like the piccolo. It often plays special parts with the piccolo and is heard with flutes and oboes.

Some famous pieces for the E♭ clarinet include parts from Gustav Holst’s First Suite in E-flat for Military Band, Paul Hindemith’s Symphony in B-flat for Band, and Gordon Jacob’s William Byrd Suite. It also has important solo parts in newer music like Adam Gorb’s Yiddish Dances.

Use as children's clarinet

Some E-flat clarinets are made from inexpensive plastic for young children who are just starting to learn. These clarinets have a simpler finger system and do not include some of the extra keys that more advanced players use.

D clarinet

The D clarinet is a bit bigger than the E-flat clarinet and was used a lot in the 1700s. Today, it is not used as much as other types of clarinets like the E-flat, B-flat, A, or C clarinet.

Some famous pieces of music were written for the D clarinet. For example, Handel wrote a piece that was probably for two D clarinets. In modern times, musicians often change D clarinet parts to be played on an E-flat clarinet instead.

Sometimes it can be hard to know why a composer chose to use a D clarinet instead of an E-flat clarinet. For example, in some music by Maurice Ravel, the notes are easier to play on a D clarinet but are written for an E-flat clarinet.

Solo and chamber literature for the E♭ (or D) clarinet

There aren't many solo pieces for the E♭ clarinet, but the number is growing. Some famous works include:

• Johann Melchior Molter: Six Clarinet Concerti (D; among the earliest extant clarinet concerti).
• Concerti by Jerome Neff and William Neil.
• Ernesto Cavallini: Carnival of Venice variations, Fantasia on a Theme from Ultimo Giorno Di Pompeii, and (with Giacomo Panizza) I figli di Eduardo 4th (all for E♭ clarinet and piano).
• Paul Mefano: Involutive for solo E♭ clarinet
• Henri Rabaud: "Solo de Concours" for E♭ clarinet.
• Jeroen Speak: Epeisodos for solo E♭ clarinet.
• Amilcare Ponchielli: Quartetto for B♭ and E♭ clarinets, flute, and oboe, with piano accompaniment.
• Giacinto Scelsi: "Tre Pezzi for E♭ Clarinet"
• William Bolcom: "Suite of Four Dances for E♭ Clarinet"
• Manuel Lillo Torregrosa: "Teren Rof", "Vivencias", "Obviam ire siglo", "Angular": Concerts 1, 2, 3, 4 for E♭ Clarinet and Band
• Arnold Schoenberg: Suite, op. 29 (E♭, B♭, and bass clarinet, violin, viola, violoncello, piano).
• Anton Webern: Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18.

Orchestral and operatic music using the E♭ (or D) clarinet

Parts written for the D clarinet are often played on the E♭ clarinet, with the player adjusting the pitch slightly.

Many famous orchestral compositions and operas have special solos for the E♭ or D clarinet. These include works by Hector Berlioz, Maurice Ravel, Richard Strauss, Igor Stravinsky, and Dmitri Shostakovich. Other composers such as Béla Bartók, Leonard Bernstein, Aaron Copland, and Gustav Mahler also used the E♭ or D clarinet in their pieces.

Recent usage

After 1950, many musical pieces have used the E♭ clarinet. Examples include John Adams's Chamber Symphony, where two players use E♭ and bass clarinets. Another example is Adriana Hölszky's A due for two E♭ clarinets. Musicians have also used special playing methods from the B♭ clarinet, like multiphonics and flutter tonguing, on the E♭ clarinet.