Here’s a practical, player-first guide to the intermediate Bb clarinets that reliably help advancing musicians bridge the gap between student gear and pro rigs. I’ve favored models with predictable intonation, comfortable keywork, and upgrade paths (barrels, mouthpieces) that grow with you. You’ll see quick “Metrics” after each model name—kept in U.S. units and geared toward the details that matter most on the stand: approximate bore size, barrel length, weight, and standard keywork. If you’re coming from an entry-level ABS horn, the biggest differences you’ll notice with these picks are the tonal core (especially on grenadilla and hard-rubber bodies), smoother key action, and how much easier it is to center pitch in dynamic extremes.
#1: Gold Award: Yamaha YCL-450 $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.6 lb; 17 keys/6 rings; A=440–442)
The YCL-450 is the quintessential “don’t-overthink-it” intermediate clarinet—reliable, consistent, and immediately familiar under the fingers. Yamaha’s reputation for machining accuracy shines in the evenness of tone holes and the stable throat tones that beginners often struggle to center. Coming from a plastic horn, you’ll hear the grenadilla’s darker, rounder core right away, especially in chalumeau. A subtle pleasure is how the 450 takes reeds: you can run slightly softer than you used on your student clarinet and still keep articulation crisp. Many band directors joke that the 450 is a gateway to Yamaha’s upper lines because it takes upgrades so well; swap to a quality mouthpiece and, later, a 2.6–2.62 in barrel cut for A=442 work and you’ll unlock more projection without losing control. Interesting history note: Yamaha modeled the ergonomics of its intermediate keywork to echo its 600-series pro horns, which is why the pinky cluster feels so sensible. A hidden gem is how forgiving the instrument is in pianissimo across the break—slur G4–B4 and hold a whisper-soft B with less “crack” risk than you’d expect. Road anecdote: more than one marching player has used a 450 as a “bad weather” horn and been pleasantly surprised by how well it seals after a wet game (just dry it properly). Over the long haul, the 450’s biggest asset is predictability; it lets you focus on embouchure and air rather than wrestling pitch pockets. If you want an intermediate that just behaves, this is the one.
30+ user ratings with an average of 4.6
#2: Silver Award: Buffet Crampon E12F $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.55 lb; 17 keys/6 rings; A=440–442)
Think “Buffet vibe” without the pro-series sticker shock. The E12F is crafted from grenadilla and inherits Buffet’s characteristic warmth through the throat and a cohesive, singing upper clarion. It’s an easy recommendation for players who crave the classic French sound and want keywork that encourages elegant finger choreography. One thing players report right away is the steadiness of long-tone thirds (try written E–G in clarion)—they lock with less “bend” than many student horns. The springing on the E12F leans quick but not twitchy, which makes technical runs a touch more taut. Trivia: the E12F’s development emphasized reliability in assembly and pad seating, so you’ll often find it ships sealing well out of the box—less time at the tech, more time in the practice room. A hidden gem is how well it tolerates barrel experimentation; a hair longer barrel (~2.60 in) slightly mellows the edge for quintet work, while a standard 2.56 in keeps things lively in wind band. Historically, Buffet sits at the center of clarinet lore, and while the E12F isn’t a pro R13, it feels like a younger cousin with good manners. Anecdotally, I’ve seen advancing players conquer their first Nielsen cadenza excerpts on an E12F because the horn didn’t fight them crossing A–B–C# in clarion under pressure. If you want the Buffet tonal DNA with intermediate-friendly intonation, this model delivers.
20+ user ratings with an average of 3.8
#3: Bronze Award: Backun Beta $$$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.55 lb; 17 keys/6 rings; A=440–442)
Backun built its reputation on boutique barrels and bells, then turned that R&D into whole instruments that punch above their weight. The Beta—grenadilla body, precise undercutting—has a compact, refined voice that records beautifully. What stands out is the clarity of the altissimo: written high C–E speak with fewer “mystery squeaks,” and the instrument rewards focused air with laser-point pitch. The included Backun-style barrel is part of the magic; it centers the tone and makes the horn feel “finished” to a degree you don’t always get at the intermediate tier. Hidden gem: resonance resonates (literally)—pair the Beta with a slightly heavier bell and legato lines gain gravitas without bloating pitch. A bit of Backun lore: many pros cut their teeth on Backun accessories long before touching the company’s full clarinets, so there’s a long tradition of “Beta today, barrel forever.” Anecdote from a pit musician: in tight quarters, the Beta’s focused projection lets you be heard without overpowering microphones; it keeps the sound column narrow and polite. If you’re an advancing player with an ear for detail—and you want a horn that scales with boutique add-ons—the Beta is a smart, modern choice.
#4: Selmer (USA) CL211 $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.6 lb; 17 keys/6 rings; A=440–442)
Don’t confuse this with Selmer Paris pro lines; the CL211 is a U.S.-market intermediate designed to be durable, resonant, and comfortable for the advancing student. The grenadilla body adds welcome warmth, and the CL211’s layout tends to fit medium hands nicely—especially the pinky table and throat A lever. A practical perk is the “plug-and-play” feel: reeds that were mouthy on your student horn behave better here because the bore and undercutting carry the column more evenly. Historically, the Selmer name spans saxes and clarinets alike, and clarity of keywork is a shared design habit—this horn moves cleanly when you’re woodshedding Klosé and Baermann. Hidden gem: a slightly larger tip opening on your mouthpiece (paired with a thinner reed cut) often frees up the upper clarion on the CL211 without costing pitch; it’s a happy pairing that many private teachers recommend. Players who need a robust band horn that still has a lyrical side for solo and ensemble will appreciate the CL211’s balance of stout build and agreeable tone. It’s also one of the friendlier horns for keeping throat-tone F and F# in line during soft passages—less lipping, more confidence.
10+ user ratings with an average of 4.8
#5: Jupiter JCL1100 $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.6 lb; 17 keys/6 rings; A=440–442)
Jupiter’s modern intermediate clarinets have shed the “school horn only” stereotype. The JCL1100’s grenadilla body and crisp, silver-plated keywork give it a vivid, responsive feel. Springs are lively, which makes staccato articulation pop—helpful for auditions where clarity is king. The instrument’s calling card is consistency through the break: try slur-2 tonguing from written A to B and up to C#; the JCL1100 tends to keep the timbre uniform. Trivia tidbit: Jupiter invested heavily in CNC precision over the last two decades, and it shows here—pads seat neatly, reducing the “pad roulette” you sometimes play on older intermediates. Hidden gem: this model often loves a barrel swap in the 2.58–2.60 in range for symphonic band tuning at A=442 while mellowing brightness. I’ve seen advancing players take the JCL1100 into youth orchestra and hold their own; the horn projects enough to ride over brass swells yet backs off nicely in chamber small-group literature. If your path includes a lot of ensemble variety, the JCL1100 is a sturdy, responsive partner.
#6: Eastman ECL523 $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.55–1.6 lb; 17 keys/6 rings; A=440–442)
Eastman’s ECL523 is a bit of a sleeper hit: grenadilla body, tidy build quality, and a naturally centered sound that makes scales feel “straight-down-the-middle” in pitch. Many teachers like how the ECL523 responds to air support—push and it grows, pull back and it doesn’t sag flat. The ergonomics are friendly for smaller hands, with a left-hand pinky that feels less “reachy” than on some older designs. A nice touch is how dependable the mid-staff F–G-A slur behaves at soft dynamics, an area where some intermediates get fussy. Hidden gem: pair it with a slightly more resistant mouthpiece and you get pro-adjacent stability on long lyrical lines. Eastman’s string instrument pedigree often gets the spotlight, but their woodwind line has steadily earned respect; the ECL523 is proof that thoughtful manufacturing can keep price sensible without toning down musicality. For the advancing player eyeing district and regional auditions, this horn won’t be the reason you miss notes—and might be the reason your tone comments read “warm, stable, mature.”
#7: Ridenour Lyrique 576BC $$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.6 lb; 17 keys/6 rings; A=440–442)
Tom Ridenour’s Lyrique series champions hard-rubber bodies, and that material choice is the 576BC’s secret weapon. Hard rubber doesn’t swell and contract like wood, which means less seasonal drama and steadier pad sealing. Tonally, the 576BC splits the difference between ABS brightness and grenadilla depth—present without getting brittle. Many players fall in love with how predictable the horn is in questionable environments: cold churches, hot parades, or classrooms that can’t decide between 68°F and 80°F. A cool history angle is Ridenour’s long service as a performer, teacher, and designer; his clarinets reflect practical musician fixes—clean undercutting, rationalized tone-hole placement, and a break that doesn’t punish you. Hidden gem: the Lyrique tends to “get along” with a huge range of mouthpieces; if you’re experimenting, this flexibility saves money and time. Anecdote: I know a doubler who keeps a 576BC as the “always ready” pit horn because it settles quickly after assembly and forgives reed roulette on double-show days. If you want intermediate performance with less maintenance anxiety, this is your stress-light option.
#8: F. A. Uebel Advantage $$$$ (Bore ~0.577 in; Barrel ~2.60 in; Weight ~1.55 lb; 17 keys/6 rings; A=440–442)
Uebel’s Advantage gives you a taste of German craft filtered for the modern advancing player. The horn speaks with a poised, velvety center—especially lovely in the second-line G to B area where many instruments get nasal. Keywork is crisp and confident without feeling stiff, a boon for etudes where fingers need to dance rather than stomp. Historically, Uebel’s lineage traces to German-system clarinets, but the Advantage is a Boehm-system instrument tailored for the broad market. Hidden gem: there’s a very refined resistance profile—blowing against the horn feels like leaning into a well-balanced door; it pushes back just enough to steady your air stream. For players who already love long-tone meditation, the Advantage rewards you with a sound that blooms in the hall. It’s also one of those instruments that records with minimal EQ; you get a “finished” timbre straight into the mic. If your tastes run toward elegant tone and you want something a little less common in the section, Uebel brings personality without drama.
#9: Leblanc Bliss L225 $$$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.55 lb; 17 keys/6 rings; A=440–442)
The Bliss line—born from a collaboration aimed at younger artists wanting a sleeker, contemporary feel—still earns a spot because it offered intermediate players a refined, modern tone at a manageable price. The L225 carries that DNA: quick, light keywork and a voice that sits slightly forward in a mix, great for lead lines in wind ensemble. Hidden gem: it’s a very “reed-friendly” clarinet; you can change the personality of the horn with small reed swaps more dramatically than on some darker, more resistant setups—handy when you’re toggling between solo rep and tutti parts. A bit of brand lore: Leblanc’s history is interwoven with American school programs, so their intermediates were designed to be both aspirational and durable. If you find one well-set-up, it’s a fun, nimble ride that invites you to practice fast articulation because the horn keeps up. For advancing players who like a touch of brilliance but don’t want to invite harshness, the Bliss is a bright-eyed teammate.
#10: Jean Paul USA CL-700 $$ (Bore ~0.577 in; Barrel ~2.56 in; Weight ~1.6 lb; 17 keys/6 rings; A=440–442)
Jean Paul earned a following by delivering honest build quality and strong playability at accessible prices, and the CL-700 is the line’s “ambitious” step-up. While not positioned as a boutique grenadilla showpiece, it’s a serious platform for advancing students who need a faithful daily driver: clear intonation across registers, sensible ergonomics, and a tone that leans clean rather than syrupy. Hidden gem: the CL-700 responds well to a higher-grade mouthpiece and ligature; with those upgrades, you can coax a surprisingly mature sound, especially in lyrical repertoire. Anecdote from a private studio: several students landed region-band chairs on this horn after upgrading their setup and practicing long-tones; the key wasn’t fighting the instrument—it let them focus on breath and phrasing. If your budget needs to stay sane while your playing levels up, this model is a pragmatic, confidence-building choice.
40+ user ratings with an average of 4.2
Conclusion
Intermediate clarinets should remove obstacles, not add them. The models above are popular because they stabilize the “hot zones” of advancing study: throat-tone pitch, crossing the break, and dynamic control without color collapse. If you crave classic warmth and a clear upgrade path, start with Yamaha’s YCL-450 or Buffet’s E12F. If you like precision and boutique flair, Backun’s Beta or Uebel’s Advantage will make you smile. Need weatherproof reliability? The Ridenour Lyrique 576BC is a gift to your schedule. The rest deliver compelling combinations of tone, ergonomics, and price that make daily practice more rewarding. Whichever you choose, invest in a good mouthpiece and keep a small collection of reeds in rotation; on any of these horns, that simple pairing will make your sound bloom and your musical life feel a lot more like music—and a lot less like a wrestling match.
