The short answer: it depends on how you count. If you mean the instruments regularly used today, expect about 8–10 core types; include historical, experimental, and extreme models and the count easily climbs to 15–20+.
That range exists because musicians and makers classify clarinets by purpose and pitch, not a single global list. Decide whether to count only modern orchestral and band instruments, early-period variants, or one-off experimental builds, and your total changes. Below I set clear counting rules and walk through every common and noteworthy member of the clarinet family.
Quick answer to how that number really means
When I say ~8–10 modern types, I mean the instruments you’ll routinely see in orchestras, wind bands, jazz groups and studio sessions: E♭ sopranino, B♭ and A soprano, C clarinet, basset/basset horn, alto, bass, contra-alto, and contrabass cover the mainstream. Add sopranillo and soprillo and you’re already above ten.
Counting rules: include modern orchestral/school instruments as primary; add historical models (chalumeau, clarinet d’amour, clarinetoon) for a historical total; include experimental and extreme builds (octocontrabass, subcontrabass, specialty sopranillos) for a comprehensive list. That explains why published totals vary.
Modern soprano clarinets you’ll actually encounter in orchestras and bands
These are the clarinets most players own or hire. They cover the bulk of repertoire and sit at the top of the family tree in terms of regular use and availability.
E♭ clarinet (sopranino/piccolo E-flat)
The E♭ clarinet sounds a minor third higher than the B♭ soprano and serves as a high color voice in orchestras and wind bands. It cuts brightly and often plays exposed solos and fanfares in late-Romantic and contemporary scores; Stravinsky and Mahler use it for piercing color. In wind bands it adds brilliance to high lines.
Timbre is thin, penetrating, and edgy. Players use a smaller mouthpiece and reed; intonation can be sharp if you don’t adjust breath and embouchure. Search repertoire for high clarinet solos and piccolo clarinet parts to hear it clearly.
B♭ and A soprano clarinets (standard student/professional models)
B♭ and A are the workhorses. They share mouthpieces and many accessories, and players switch between them to match orchestral transposition and intonation. The A clarinet is slightly longer and darker; Mozart wrote mainly for A and B♭, and Romantic and modern orchestral parts often require both.
Choose B♭ for band and general study; switch to A for orchestral passages in keys that favor A. Reed and barrel adjustments control tuning differences. These two are the core of the soprano clarinet category and are essential for any serious clarinetist.
C clarinet (occasional orchestral/educational use)
The C clarinet is a non‑transposing soprano that sounds a whole step higher than B♭. It’s less common now because modern orchestras prefer A and B♭ and transposition conventions shifted, but you’ll run into it in Classical-era scores and in some band settings.
Sonic differences: a clearer, slightly thinner tone than B♭; easier for reading concert pitch parts. Use it if the part calls for it; otherwise, most players double on A and B♭ and avoid maintaining a separate C clarinet setup.
Lower-register clarinets: basset, alto, horn and bass members
These instruments add depth and unique colors. They are larger, require different fingerings or extensions, and appear in chamber, orchestral, and contemporary works.
Basset clarinet and basset horn (extended lower range instruments)
“Basset” means extended low notes below the standard chalumeau range. Mozart scored his Clarinet Concerto and major chamber pieces for the basset clarinet and basset horn, which reach down to written low C or B depending on model.
The basset horn in F sits lower than the A clarinet and has a darker, more mellow tone. Modern performers use period reconstructions or specially made instruments to play authentic editions. If you play Mozart or early Romantic repertoire seriously, a basset option is worth considering.
Alto clarinet in E♭ (mid-low voice)
The E♭ alto clarinet bridges soprano and bass. It shows up in wind-band literature more than in standard orchestras and offers a rounder, mellow mid-low voice. It’s shorter than a bass clarinet but larger than a B♭ soprano.
Many ensembles replace it with a bass clarinet or a second bass voice because the alto’s parts are limited and the instrument is relatively rare. If you play in community or school bands, you’ll see it more often than in symphony pits.
Bass clarinet in B♭ (low, sonorous bottom voice)
The bass clarinet sounds roughly an octave below the B♭ soprano and is a staple in orchestras, wind ensembles, and jazz. It has a rich, dark sound, extended low range, and growing solo repertoire. Composers from Ravel to contemporary composers write important parts for it.
Construction differs: longer tube, possible metal bell, and sometimes an adjustable neck for player comfort. If you want low-register impact or orchestral employability, learn the bass clarinet; it adds immediate job potential.
The deepest clarinets: contra-alto, contrabass and extreme low models
These instruments expand the bottom end and change how an ensemble balances. They’re large, heavy, and used mostly in wind bands, experimental works, and by specialists.
Contra-alto clarinet (E♭ contra-alto)
The contra-alto is pitched in E♭ and sounds an octave below the alto clarinet. It provides a deep, sonorous foundation in large wind ensembles and contemporary scores, different from the bass clarinet in timbre and pitch placement.
They’re bulky and less common but valuable in wind-band textures and some modern chamber music. Expect logistic issues: transport, mouthpiece availability, and higher cost compared with soprano and bass models.
Contrabass clarinet (B♭ contrabass) and rarer subcontrabass instruments
The B♭ contrabass sounds two octaves below the B♭ soprano and produces a powerful low register. Composers use it sparingly for dramatic low effects and orchestral color. It shows up in film scores, avant-garde pieces, and large wind-band charts.
Octocontrabass and other subcontrabass builds exist but are practically experimental: massive, rare, and often custom-made. They expand the family but are not part of everyday ensemble life.
Tiny/high clarinets: sopranino and soprillo — the very high end of the family
Sopranino (E♭ sopranino) and the even smaller B♭ soprillo occupy the extreme high register. They’re used in contemporary works and novelty pieces and require tiny mouthpieces and precise technique.
Technical challenges include narrow finger spacing, sharp intonation tendencies, and fragile reeds. These instruments are valuable for specialist players and composers seeking extreme high color, but they are not routine doubles for most clarinetists.
Obsolete, historical and regional clarinet relatives you might still read about
Early reed instruments like the chalumeau evolved into the modern clarinet and appear in historical performance practice. Period variants include the clarinet d’amour and the clarinetoon, both offering different timbres and tunings than modern models.
Older key systems—five- and six-key clarinets—and regional systems like Albert and early Oehler styles matter in period ensembles. Specialists learn these systems to perform Classical and early Romantic works authentically.
How instrument makers and players classify types: pitch, transposition, bore, and key system
Classification rests on four practical criteria: sounding pitch (the instrument’s transposition), bore size and shape (contributes to tone color), keywork/system (Boehm, Oehler, Albert), and intended use (band, orchestra, jazz, solo).
That’s why the same name—like “alto”—can mean different instruments across makers or eras. Know the instrument’s sounding pitch and key system before you buy or take a part; those two facts determine fingering, transposition, and repertoire compatibility.
Where you’ll hear each clarinet type: orchestras, wind bands, jazz, chamber and contemporary music
Orchestras generally favor B♭, A, and bass clarinet, with occasional E♭ and C parts. Wind bands use E♭ alto, contra-alto and contrabass more often. Jazz and studio work typically use B♭ and bass clarinets for solos and texture.
Contemporary composers spotlight rare members—soprillo, contrabass, basset horn—to get unusual timbres. Chamber groups and clarinet choirs also expand usage: that’s where you’ll hear less common types regularly.
Practical buying and playing advice: which clarinet types are worth learning or owning
Start on a B♭ student soprano. It’s affordable, versatile, and the standard for study. Add an A if you plan orchestral work. Buy a bass clarinet once you need low-register parts or want broader job opportunities. Basset clarinets, basset horns, and sopranillos are specialist purchases—invest only if your repertoire or ensemble demand them.
Consider cost, availability of reeds and mouthpieces, maintenance, and resale value. Rare instruments have higher upkeep and smaller markets. If you want flexibility, rent or borrow before buying specialty models.
Quick identification tips and a simple cheat-sheet for counting clarinet types
Cheat-sheet: commonly used modern types = E♭ sopranino, B♭ soprano, A soprano, C clarinet, basset/basset horn, E♭ alto, B♭ bass, E♭ contra-alto, B♭ contrabass. Rare/historical/experimental additions push the list past 15 to 20.
Visual and sonic ID tips: small, short tube = high clarinet (sopranino/soprillo); medium, straight tube = soprano; long tube with downward bell or metal bell = bass or contrabass; very wide bore and large footprint = contra-alto/contrabass. Listen for pitch: an A will sound a minor third lower than C, and bass instruments sound an octave or more below soprano.
Common misconceptions and FAQs about how many clarinets and their roles
Do clarinet players switch between B♭ and A? Yes. Orchestra players commonly own both and swap during performances to match the key and sonority required by the score.
Are alto and basset horn the same? No. The alto clarinet in E♭ is different from the basset horn in F. The basset horn has extended lower notes and darker timbre; the alto is a standard mid-low voice without the basset’s extended range.
Is a soprillo the same as a piccolo clarinet? Not exactly. The term piccolo or sopranino often refers to the E♭ sopranino; the soprillo is a very small B♭ instrument pitched higher than the standard B♭ soprano and is technically demanding.
How many clarinet types can you quote confidently? For practical conversation, quote 8–10 modern, regularly used types and 15–20+ if you include historical and experimental models; explain your counting rules when precision matters.
Final practical takeaway
If you want a single number to use in conversation, say: around 8–10 common modern types, and add that the total exceeds 15 when historical and experimental instruments are counted. That gives you a clear, accurate answer and leaves room for specialist exceptions.
