The clarinet is renowned for its wide range, spanning from deep, resonant low notes to bright, piercing highs. Among these, high A (A6)—the A above the staff—is a note that challenges many players due to its position in the altissimo register (the clarinet’s highest range). Whether you’re a beginner encountering this note for the first time or an advanced player refining your technique, mastering high A requires precise embouchure control, proper fingerings, and focused air support.
In this guide, we’ll break down the correct fingerings for high A, explain the acoustics behind this note, and provide step-by-step exercises to improve your tone and consistency. By the end, you’ll understand how to produce a clear, stable high A and integrate it smoothly into your playing.
Understanding High A on the Clarinet
What Is High A?
On the B♭ clarinet, high A (A6) is the A above the top line of the treble clef, sounding as a G (G5) due to the instrument’s transposition. This note sits in the altissimo register, where the clarinet’s cylindrical bore makes harmonics less stable, requiring extra control.
Why Is High A Difficult?
- Acoustics: The clarinet’s design makes high notes inherently unstable, often sounding sharp or stuffy.
- Fingerings: Many standard fingerings for high A are unstable or require precise adjustments.
- Air and Embouchure: Unlike lower notes, high A demands fast, focused air and a firmer embouchure to speak clearly1.
Correct Fingerings for High A
Standard Fingering
Left Hand:
- Thumb: Register key (back key).
- Index Finger: Covers the first tone hole.
- Middle Finger: Optional—covering the second hole can stabilize pitch.
- Pinky: Presses the high E key (left-hand side key).
Right Hand:
No fingers down (all tone holes open).
Alternate Fingerings (For Better Intonation)
Fork Fingering:
- Left Hand: Thumb (register key) + Index finger (first hole).
- Right Hand: Middle finger (third hole) + Pinky on C#/G# key.
- Pros: More stable pitch. Cons: Slightly stuffier tone.
Resonance Fingering:
- Left Hand: Thumb (register key) + Index finger (first hole).
- Right Hand: Ring finger (fourth hole) + Side F key.
- Pros: Brighter sound. Cons: Harder to control3.
Techniques for a Clear, Stable High A
Embouchure Adjustments
- Firmer lips: Slightly tighten your embouchure compared to middle-register notes.
- Higher tongue position: Think “EE” to focus the airstream.
- Avoid biting: Too much pressure will choke the sound1.
Breath Support
- Fast, focused air: Imagine blowing through a small straw.
- Diaphragm engagement: Push air from your core, not just your throat.
Voicing (Oral Cavity Shape)
- Raise the back of your tongue: This narrows the airway, helping the note speak clearly.
- Keep the throat open: Prevents the note from sounding pinched5.
Exercises to Strengthen High A
Long Tones
- Play middle G (G5), then slur up to high A (A6). Hold for 5 seconds.
- Repeat, focusing on smooth transitions and steady pitch.
Octave Jumps
- Play low A (A4) → middle A (A5) → high A (A6) in one breath.
- This trains register control and air speed adjustment1.
Dynamic Control
- Practice crescendos (pp to ff) on high A to improve stability.
Troubleshooting Common Problems
The Note Doesn’t Speak
- Check finger sealing: Even a tiny leak can prevent the note from sounding.
- Adjust reed strength: A harder reed (3.0+) may help with altissimo notes5.
The Note Squeaks or Cracks
- Too much lip pressure: Relax your embouchure slightly.
- Inconsistent airspeed: Use a metronome to practice steady airflow.
The Note Sounds Thin or Sharp
- Try alternate fingerings: Fork or resonance fingerings often improve tone.
- Lower tongue slightly: Reduces sharpness3.
Conclusion
Playing high A cleanly requires precise fingerings, firm embouchure control, and fast air support. While it’s one of the trickier notes on the clarinet, consistent practice with long tones, octave jumps, and dynamic exercises will help stabilize it.
Remember: Patience is key. High notes often take time to develop, but mastering them will significantly expand your musical expression.
Related topics:
Clarinet acoustics and altissimo techniques
Embouchure control for high register playing
Respiratory training for wind instruments
