Clarinets

High-range instruments > piccolo clarinet in E-flat

General

The piccolo clarinet in E-flat is a prominent instrument in symphonic works of the early 20th century: if there’s a part for this instrument, there’s probably a solo or two. However, just the presence of this instrument (or any very high clarinet) in an orchestral tutti is clearly audible. The instrument is extremely versatile in all registers; it can almost do everything a B-flat clarinet can do, just higher. The classical music canon has deemed this instrument to be an extrovert, however it can be very much the opposite too.

The piccolo clarinet in D is pitched one semitone lower than the piccolo clarinet in E-flat and sounds similar. This instrument is generally less common than the instrument in E-flat.

Nearby range and tone colour pairings: piccolo, flute, musette, oboe, oboe d’amore, soprano saxophone, piccolo trumpet, trumpet, high/small percussion, violin

Distant range and tone colour pairings: low woodwind, low brass, large/low percussion, low strings

Video example (18th century)
Video example (20th century)

Notable repertoire:

Hector Berlioz — Symphonie Fantastique (1830) for orchestra
Richard Strauss — Till Eulenspiegels lustige Streiche (1895) for orchestra (piccolo clarinets in D and E-flat)
Igor Stravinsky — Le sacre du printemps (1913) for orchestra (piccolo clarinets in D and E-flat)
Anton Webern — Suite, op. 29 (1926) for ensemble
Paul Mefano — involutive (1959) for solo piccolo clarinet in E-flat
Conlon Nancarrow — Player Piano Study No. 7 (1965) for ensemble arr. Yvar Mikhashoff (1995)
Jeroen Speak — Epeisodos (1998) for solo piccolo clarinet in E-flat

Transposition hacks

sounding > written: think a minor third lower [ - m3 ]
written > sounding: think a minor third higher [ + m3 ]

Piccolo clarinets

These highest and smallest (hence: piccolo) of all clarinets come in at least 4 different nominal pitches: D, E-flat, G and A-flat, at least these are the most common types and even then — except for the E-flat clarinet — they’re quite rare. They are the upward extension of the sound of the clarinet family and can pierce the sound of a tutti orchestra with ease, when played in the high register. There are very few limits to the technical virtuosity possible on these instruments and when played softly, they can sound magical and seductive. Multiphonics on piccolo clarinets can be more difficult to produce than on the other high clarinets (C, B-flat, A) so be sure to always check them with someone. All other extended techniques work well.

The nomenclature “piccolo” may seem deceptive at first, because we are most often used to hearing or reading this word in association with the piccolo flute, which is pitched one whole octave above the standard flute. However, the term “piccolo” need not refer to an instrument one octave higher. The word “piccolo” comes from Italian and means small. As with much musical terminology in use in the English language, we have borrowed it from Italian. Because the word simply means small, which in woodwind-speak is the same as higher, this word can be applied to those members of the instrument family that are perceived to be significantly higher, proven by over 100 years of orchestration from three of the most significant national contributors to the classical music canon: Italy, France and Germany:

Italian: clarinetto in Do/Si-bemolle/La > clarinetto piccolo (=small) in Ré/Mi-bemolle/Sol/La-bemolle
French: clarinette en Ut/Si-bemol/La > petite (=small) clarinette en Ré/Mi-bemol/Sol/La-bemol
German: Klarinette in C/B/A > kleine (=small) Klarinette in D/Es/G/As

Next time you’re at the library, why not compare ways composers refer to the piccolo clarinet in E-flat, the most common piccolo clarinet?