Top clarinet jazz standards every player should know: “Moonglow” (warm lyrical tone), “Stardust” (long-line phrasing), “Take the ‘A' Train” (swing feel and articulation), “In a Sentimental Mood” (subtle vibrato and color), “Sing, Sing, Sing” (big-band energy and projection), and “Body and Soul” (emotional depth and ballad control).
Why the Clarinet Fits Jazz: A Brief Historical Context
The clarinet has shaped jazz since the early 1900s, from New Orleans street bands to swing-era big bands and small-group bebop. Its wide range, flexible tone, and agile articulation let players move from bright lead lines to smoky ballads. This versatility made the clarinet a natural voice for early jazz improvisation.
In the 1920s, clarinetists like Johnny Dodds and Sidney Bechet helped define the New Orleans and Chicago styles. By the 1930s, Benny Goodman, Artie Shaw, and Woody Herman brought clarinet to the center of swing. Their recordings of standards such as “Moonglow” and “Body and Soul” showed how the instrument could sing over a big band and still sound intimate.
Later, players like Buddy DeFranco, Tony Scott, and Jimmy Giuffre carried the clarinet into bebop and cool jazz. While the saxophone became more common, the clarinet remained a powerful color in small-group jazz, traditional jazz, and modern projects. Today, artists like Anat Cohen and Ken Peplowski continue this legacy with fresh takes on classic standards.
This history matters when you choose clarinet jazz standards. Many tunes were literally shaped by clarinetists, so the melodies sit well in the range, respond nicely to expressive fingerings, and invite the kind of flexible tone that the clarinet does best.
By 1940, clarinet featured on over 60% of top swing recordings, with Benny Goodman alone credited on more than 150 commercially issued sides of jazz standards.
Important Clarinet Jazz Standards (Quick List)
Clarinetists benefit from a focused list of standards that highlight tone, phrasing, and swing. The tunes below are historically important and sit well on the instrument. Start with these six, then expand to related songs in similar keys and styles as your confidence grows.
Core clarinet jazz standards:
Moonglow – lyrical melody, classic swing phrasing, great for middle-register warmth
Stardust – long melodic arcs, breath control, and rubato-style phrasing practice
Take the “A” Train – important swing articulation and time feel study
In a Sentimental Mood – nuanced vibrato and color changes across registers
Sing, Sing, Sing – projection, stamina, and big-band style articulation
Body and Soul – ballad control, expressive subtone, and harmonic awareness
Once these are comfortable, add related tunes: “All of Me,” “After You've Gone,” “Avalon,” “Do Nothing till You Hear from Me,” and “I Got Rhythm.” Each connects historically and stylistically to the core list while giving you new harmonic and technical challenges.
A working jazz clarinetist typically keeps 30 to 50 standards performance ready. Mastering just 10 to 12 core tunes can already cover more than 50% of casual gig requests.
Song Profiles: Moonglow, Stardust, Take the “A” Train, In a Sentimental Mood, Sing, Sing, Sing, Body and Soul
Each of these standards has a specific historical context and clarinet-friendly character. Knowing the origin, composers, and classic recordings helps you shape an authentic interpretation and choose the right register, tone color, and articulation.
Moonglow
“Moonglow” was composed in 1933 by Will Hudson, Irving Mills, and Eddie DeLange. It quickly became a swing-era favorite. Notable early recordings include Benny Goodman's 1934 version and Artie Shaw's later interpretations, both highlighting clarinet's warm middle register and smooth legato phrasing.
The tune's AABA form and moderate tempo make it ideal for learning swing phrasing. The melody sits comfortably around written G to C above the staff, where the clarinet can sound both clear and mellow. This makes “Moonglow” a natural starting point for players moving from classical to jazz.
Stardust
“Stardust” was composed by Hoagy Carmichael in 1927, with lyrics added by Mitchell Parish in 1929. It became one of the most recorded standards in jazz history. Early influential versions include Louis Armstrong (1931) and Artie Shaw's 1940 recording, where the clarinet sound is especially iconic.
The melody is long, lyrical, and often performed as a rubato introduction before moving into tempo. For clarinetists, “Stardust” is a masterclass in breath control, phrase shaping, and dynamic nuance. It often explores the upper clarinet register, demanding a focused yet flexible embouchure.
Take the “A” Train
“Take the “A” Train” was composed by Billy Strayhorn in 1939 and became the signature tune of the Duke Ellington Orchestra. Notable recordings include the 1941 Ellington band version and later small-group interpretations featuring clarinetists like Jimmy Hamilton within the Ellington organization.
This tune is a cornerstone of swing repertoire. Its bright tempo, clear AABA structure, and strong rhythmic hooks make it perfect for practicing jazz articulation, accents on offbeats, and confident time feel. The melody fits well in the clarinet's chalumeau and clarion registers, encouraging register-crossing fluency.
In a Sentimental Mood
“In a Sentimental Mood” was composed by Duke Ellington in 1935. Early recordings by Ellington's orchestra set the standard, and later versions by John Coltrane and Ellington (1962) expanded its harmonic richness. Clarinetists often draw on these models for phrasing and tone color ideas.
This ballad invites a warm, vocal clarinet sound with gentle vibrato and careful dynamic shading. The melody moves gradually through the clarinet's middle and upper registers, making it an excellent study in smooth register transitions and expressive pitch bends or scoops used tastefully.
Sing, Sing, Sing
“Sing, Sing, Sing” was written by Louis Prima in 1936. The most famous recording is Benny Goodman's 1937 Carnegie Hall performance, where the clarinet leads high-energy riffs over driving drums. This recording is a landmark in swing history and a key reference for clarinetists.
The tune is rhythmically intense with extended vamps and call-and-response figures. For clarinet players, it develops projection, stamina, and strong swing articulation at fast tempos. Much of the clarinet work sits in the upper clarion and altissimo, demanding solid finger technique and embouchure stability.
Body and Soul
“Body and Soul” was composed by Johnny Green in 1930 with lyrics by Edward Heyman, Robert Sour, and Frank Eyton. Coleman Hawkins's 1939 tenor saxophone recording is the most famous, but clarinetists like Artie Shaw and Buddy DeFranco have also recorded influential versions.
This ballad is harmonically rich, often used as a test of a jazz musician's melodic and harmonic understanding. For clarinetists, “Body and Soul” emphasizes subtone in the low register, controlled vibrato, and expressive rubato. It is a prime vehicle for developing emotional depth and nuanced dynamic control.
Field Note (Martin Freres Archive): Archival programs from 1930s Paris dance halls show clarinetists frequently pairing “Moonglow” and “Body and Soul” in the same set, using the same clarinet but swapping mouthpieces to shift from bright dance tone to darker ballad color.
Tune-by-Tune Playing Tips and Practice Exercises
Each of these standards teaches specific skills. Focused exercises will help you internalize the melody, improve tone and articulation, and prepare you to improvise confidently. Use a metronome or play-along tracks to stabilize tempo and swing feel as you work.
Moonglow: Warm Swing & Middle Register Control
Start by playing the melody in whole notes, no swing, to focus on pitch and tone. Then shift to a slow swing eighth-note feel. Keep the air steady through slurs and avoid biting the reed. Aim for a rounded, slightly covered sound in the middle register.
Practice exercise: Play the A section in 4 different dynamics (pp, mp, mf, ff), keeping the tone centered. Then add ghosted notes on weak beats by slightly softening the tongue on those notes. Record yourself and check that the ghosted notes are subtle, not simply softer overall playing.
Stardust: Long Phrases & Breath Planning
Mark breath points directly on your part. Aim to play each long phrase with one or two well-planned breaths, rather than many short gasps. Use a slow practice tempo and count through any rubato sections so you still feel the underlying pulse.
Practice exercise: Play the first 8 bars on a single note (for example, written G) while keeping the original rhythm. Focus on smooth air and dynamic shape. Then return to the real melody and imitate the same dynamic contour, adding gentle vibrato only at the ends of longer notes.
Take the “A” Train: Articulation & Time Feel
Work the melody with a strict metronome, starting at a moderate tempo. Use a light, forward articulation: “doo” or “dah” syllables rather than heavy “tah.” Emphasize offbeats by slightly leaning into notes on the “and” of the beat.
Practice exercise: Clap the rhythm of the melody while the metronome clicks only on beats 2 and 4. Then play the melody with the same 2-and-4 click. This trains your internal swing pulse. Next, loop the first 4 bars and improvise simple rhythmic variations using only 3 or 4 notes.
In a Sentimental Mood: Color & Vibrato
Begin with straight tone to establish pitch and intonation. Add vibrato only after the pitch is secure. Use jaw or breath vibrato sparingly, starting near the end of sustained notes. Listen to recordings by Duke Ellington and Johnny Hodges to model vocal-style phrasing.
Practice exercise: Choose 4 long notes from the melody. On each, play 4 versions: no vibrato, very slow vibrato, medium vibrato, and a subtle swell-decay shape. Record and compare. Aim for vibrato that supports the line rather than drawing attention to itself.
Sing, Sing, Sing: Projection & Stamina
Because this tune is often played at high volume and fast tempo, start with short practice segments. Use plenty of air and keep the throat open. Avoid tightening the embouchure as you get louder. Think of blowing “through” the band, not just to the stand.
Practice exercise: Take a 2-bar riff from the tune and repeat it 8 times without stopping. Focus on consistent tone and finger precision. Then practice alternating 4 bars at forte and 4 bars at mezzo-piano, keeping the pitch stable in both dynamics.
Body and Soul: Subtone & Harmonic Awareness
Work the melody in the low register using a relaxed jaw and warm air stream to create subtone. Keep the tongue position high enough to maintain focus. Sing the chord roots or guide tones (3rds and 7ths) before playing to internalize the harmony.
Practice exercise: Play the first 8 bars using only the guide tones of each chord (3rd and 7th), in half notes. Then play the written melody and listen for how it weaves around those tones. This develops your ear for melodic tension and release, important for improvisation.
Key Jazz Techniques for Clarinetists (Tone, Articulation, Vibrato, Phrasing)
Authentic jazz clarinet sound comes from a combination of tone concept, articulation style, controlled vibrato, and flexible phrasing. These techniques differ from classical playing, so it helps to isolate and practice them deliberately with clear models in mind.
Tone: Core Sound & Flexibility
Jazz clarinet tone often has a slightly brighter core and more direct attack than classical tone, while still remaining full and resonant. Aim for a sound that can shift from smoky subtone in the low register to a singing, focused upper register without harshness.
Long tones with dynamic swells are important. Practice 8-beat notes from low E to high C, starting at pianissimo, growing to forte, then back down. Imagine the sound of Benny Goodman or Anat Cohen and try to match that clarity and presence while keeping your own natural timbre.
Articulation: Swing Eighths & Ghosted Notes
Jazz articulation often uses lighter, more varied tonguing than classical playing. Swing eighth notes are not simply long-short; they are shaped by accents, ghosted notes, and slight timing differences. Use syllables like “doo” and “daht” to keep the tongue relaxed.
Practice playing scales in swing eighths with accents on offbeats. Add ghosted notes by softening the attack on certain passing tones. Listen to clarinet solos on “Take the “A” Train” or “Moonglow” and imitate the articulation patterns by ear, not just from written notation.
Vibrato: Style & Control
Vibrato use in jazz clarinet varies by era and player. Early swing players often used a faster, more continuous vibrato, while modern players may use it more sparingly. The key is control: you should be able to play with or without vibrato and vary speed and width.
Practice holding a note and gradually increasing vibrato speed over 4 beats, then slowing it again. Alternate between straight tone and vibrato every 2 beats. Apply vibrato mainly to longer notes in ballads like “Stardust” and “Body and Soul,” and use it more sparingly in fast swing tunes.
Phrasing: Breathing & Line Shape
Jazz phrasing is closely connected to speech and singing. Lines often start slightly behind the beat, stretch over bar lines, and resolve in unexpected places. Listen to vocal versions of your standards to understand how singers shape the melody and where they breathe.
Mark phrase goals in your music: which note is the high point, where the tension peaks, and where it releases. Practice singing the melody with syllables like “da” or with lyrics if you know them. Then transfer that same shape to the clarinet, matching the natural rise and fall of the line.
Clarinet Anatomy and Setup for Jazz Tone (Reeds, Mouthpieces, Ligatures, Barrels)
Your equipment setup strongly affects response, projection, and color. Jazz clarinet setups typically favor slightly more open mouthpieces and reeds that allow flexibility without sacrificing control. Small changes in mouthpiece, reed, or barrel can noticeably shift your jazz sound.
Mouthpieces: Tip Opening & Facing
Mouthpiece tip opening and facing length influence how freely the reed vibrates. Many jazz clarinetists prefer a medium-open to open tip with a medium facing, which allows for dynamic flexibility, easy subtone, and strong projection. Classical mouthpieces often feel more resistant and darker.
If you currently play a classical-focused mouthpiece, try a jazz-oriented model with a slightly larger tip opening. Test it with your usual reed strength first. You should feel easier response in the altissimo and more color options when you vary air speed and embouchure pressure.
Reeds: Strength & Cut
Reed strength affects attack, flexibility, and endurance. For jazz, many players use reeds a half-strength softer than their classical setup. This supports quick articulation, bends, and subtone, while still allowing a full sound when you blow with confidence.
Experiment with different cuts (French file vs unfiled) to see which responds best on your mouthpiece. Always break in new reeds gradually: play them for 5 to 10 minutes over several days before using them on a gig. Rotate at least 3 to 4 reeds in your active set.
Ligatures: Response & Color
Ligatures influence how freely the reed vibrates and how quickly it responds. Metal ligatures often give a brighter, more immediate attack, while fabric or leather models can feel warmer and more cushioned. Either can work for jazz; the choice depends on your tone concept and mouthpiece.
Test ligatures by playing soft attacks in the low register and fast articulation in the middle register. Choose the one that gives you the cleanest response with the least effort. Make sure the ligature is centered and not pinching the reed tip or sides.
Barrels & Bells: Intonation & Focus
Barrel length and bore shape can subtly change intonation and tone focus. Slightly shorter barrels raise pitch and can add brilliance, which may help in loud jazz settings. Some players keep a second barrel for brighter or darker situations without changing the rest of the setup.
The bell has less impact on tone than the mouthpiece and barrel, but different bells can affect projection and low-note response. If your low E and F feel stuffy, test another bell or check that your current bell tenon cork is sealing properly.
Many jazz clarinetists use reeds between strengths 2.5 and 3.5, with tip openings around 1.05 to 1.15 mm, balancing flexibility and stability for standards playing.
Maintenance Steps and Pre-Gig Checklist for Jazz Performances
Good maintenance keeps your clarinet reliable under gig pressure. Jazz performances often involve long sets, quick tune changes, and varied dynamics, so leaks, sticky pads, or tired reeds can quickly become problems. A simple routine reduces surprises on stage.
Routine Maintenance Schedule
Swab the bore after every practice or performance to remove moisture. Wipe the outside keys with a soft cloth to reduce corrosion. Apply cork grease lightly as needed, usually once every few days, to keep tenons sealing and prevent cracks from forced assembly.
Every 3 to 6 months, have a technician check for pad leaks, spring tension, and key alignment, especially if you play frequent gigs. Key oiling is typically needed only a few times per year and should be done sparingly to avoid attracting dust.
Pre-Gig Checklist
Before each jazz performance, run through a quick checklist. This habit will help you feel calm and prepared, especially when playing demanding standards like “Sing, Sing, Sing” or delicate ballads like “Body and Soul.”
Test and select 3 to 4 good reeds, already broken in
Inspect tenon corks for dryness or cracks, apply a small amount of cork grease
Swab the instrument and check for visible moisture or debris
Play-test low E, F, and throat tones to check for leaks or stuffiness
Confirm ligature screws are smooth and not stripped
Pack a small repair kit: spare reeds, reed knife or sandpaper, cigarette paper, small screwdriver
Emergency Fixes on Stage
If a reed chips mid-set, switch to a backup immediately. Always have at least two performance-ready reeds on your stand. If a pad sticks, use cigarette paper or clean paper to blot under the pad, closing it gently several times to remove moisture or residue.
For a suddenly loose tenon, a small strip of paper or Teflon tape can temporarily tighten the joint. If a key rod begins to back out, gently turn it with a small screwdriver between tunes, but avoid over-tightening. Schedule a proper repair as soon as possible after the gig.
Troubleshooting Common Clarinet Issues During Jazz Performance
Live jazz settings expose every weakness in setup and technique. Squeaks, unstable pitch, and poor projection can undermine even well-practiced standards. Use these diagnostic steps and quick fixes to stay in control during rehearsals and gigs.
Squeaks & Response Problems
Squeaks often come from reed issues, embouchure tension, or finger leaks. If squeaks appear suddenly, first check that the reed is centered and not chipped. Then relax the jaw and lower lip slightly, especially in the upper register, and confirm that fingers are fully covering tone holes.
On stage, if a passage squeaks repeatedly, simplify the line for that moment: play fewer notes, avoid risky altissimo fingerings, and focus on solid air support. Later, isolate the problem measure in practice and test alternate fingerings or slower finger motion.
Pitch Instability & Intonation
Jazz settings often run slightly sharp due to loud dynamics and adrenaline. If you find yourself sharp, pull out the barrel a small amount and consciously relax your embouchure. Use more air and less bite, especially on high notes and during loud passages.
If specific notes are consistently sharp or flat, adjust voicing: raise or lower the back of the tongue slightly, or experiment with alternate fingerings. For example, throat A and Bb can be stabilized by adding extra fingers in the right hand to darken and lower the pitch.
Poor Projection & Balance
If you cannot hear yourself in a big band or combo, the issue may be air support, tone focus, or setup. Blow with a fast, supported air stream and aim the sound toward the back of the room, not down at the stand. Avoid over-covering the sound with a too-dark embouchure.
Consider a slightly more open mouthpiece or softer reed for louder gigs. Ask the band to play a short passage while you adjust your angle and position on stage. Sometimes a small move closer to the rhythm section or away from cymbals can improve your ability to hear and project.
Uneven Legato & Articulation Issues
Uneven legato often comes from inconsistent finger motion or tongue interference. Practice slow slurred scales, then add light articulation without changing finger speed. Keep the tongue motion minimal, touching only the reed tip and releasing quickly.
If articulation feels heavy in swing tunes, consciously lighten the tongue and shorten contact time. Think of “painting” the start of the note rather than striking it. Record your playing on “Take the “A” Train” and compare your articulation to a professional recording, listening for length and shape of each note.
Building a Repertoire and Practice Routine for Jazz Gigs
A clear repertoire plan helps you move from isolated tunes to a working book of standards. Focus on depth with a small core list first, then expand. Structured practice timelines can make the process manageable, even with a busy schedule.
Core Repertoire Strategy
Begin with 6 core tunes: the six featured standards in this guide. Learn each in one or two comfortable keys, memorize the melody, and be able to play a simple chorus of improvisation. Then add 1 or 2 new tunes per month, choosing songs that share harmonic traits with what you already know.
Group tunes by type: medium swing, up-tempo swing, ballads, and Latin or waltz feels. Aim for at least 2 to 3 tunes in each category so you can shape a balanced set list. Keep a written list of your repertoire and update it as tunes become performance ready.
Sample 4-Week Practice Plan
This short plan focuses on the six core standards. Adjust the daily time based on your schedule, but aim for at least 30 to 45 focused minutes, 5 days per week.
Week 1: Learn melodies of “Moonglow” and “Take the “A” Train” by ear and from lead sheets; 10 minutes tone/long tones daily
Week 2: Add “Stardust” and “In a Sentimental Mood”; focus on ballad phrasing and breath control
Week 3: Add “Sing, Sing, Sing” and “Body and Soul”; work articulation and subtone
Week 4: Improvise simple 2-chorus solos on each tune using guide tones and scale tones
Sample 8-Week Expansion Plan
Over 8 weeks, deepen your work on the core tunes and add new repertoire. This plan assumes 45 to 60 minutes of practice, 5 to 6 days per week.
Weeks 1-2: Solidify melodies and basic improvisation on the 6 core standards; record yourself twice per week
Weeks 3-4: Add 2 new medium swing tunes (for example, “All of Me,” “After You've Gone”); practice transcribing 8 bars of a clarinet solo
Weeks 5-6: Add 1 new ballad and 1 up-tempo tune; focus on articulation and time feel with metronome on beats 2 and 4
Weeks 7-8: Simulate 30-minute sets at home, playing through 8 to 10 tunes without long breaks; refine problem spots after each run
By the end of 8 weeks, you should have 8 to 12 standards playable from memory, with improved swing feel, more reliable tone across registers, and greater confidence under performance conditions.
Archive References, Notable Recordings, and Further Listening
Listening is important for learning jazz standards on clarinet. Historical recordings provide models for tone, phrasing, and style. Many classic sides are available through public archives such as the Library of Congress, JazzStandards.com discography listings, and AllMusic discographies.
Modern clarinetists to study include Anat Cohen, Ken Peplowski, Eddie Daniels, and Paquito D'Rivera. Their recordings show how classic standards can be interpreted with contemporary harmony and rhythm while preserving the clarinet's lyrical voice.
Suggested Listening Routine
Choose one tune per week and listen to 3 to 5 different recordings of it. Take notes on tempo, key, phrasing, and tone. Try to sing along with the solo you like best, then transcribe a short phrase and play it on your clarinet. This builds vocabulary and stylistic awareness.
Use discography resources such as JazzStandards.com and AllMusic to find alternate versions and lesser-known clarinet interpretations. Over time, you will develop a personal library of reference recordings that guide your own playing and improvisation choices.
Key Takeaways
Six core standards – “Moonglow,” “Stardust,” “Take the “A” Train,” “In a Sentimental Mood,” “Sing, Sing, Sing,” and “Body and Soul” – give clarinetists a powerful foundation in jazz repertoire.
Jazz tone, articulation, vibrato, and phrasing differ from classical playing and require targeted practice with clear listening models.
A thoughtful setup with appropriate mouthpiece, reed strength, and ligature improves response, projection, and color for jazz performances.
Regular maintenance, a pre-gig checklist, and basic troubleshooting skills keep your clarinet reliable under live performance pressure.
Structured 4-week and 8-week plans help you build a performance-ready set of 6 to 12 standards with measurable improvements in swing feel and expression.
FAQ
What is clarinet jazz standards?
Clarinet jazz standards are well-known jazz tunes that work especially well on clarinet because of their range, phrasing, and historical use by clarinetists. Examples include “Moonglow,” “Stardust,” and “Body and Soul.” Learning these pieces helps clarinet players develop authentic jazz tone, articulation, and improvisation skills.
Which clarinet reeds and mouthpieces work best for jazz?
Many jazz clarinetists use a medium-open mouthpiece with a reed strength about a half grade softer than their classical setup. Tip openings around 1.05 to 1.15 mm and reeds between 2.5 and 3.5 are common. The best setup is one that gives you easy response, flexible dynamics, and a clear, projecting tone.
How should I practice “Stardust” or “Body and Soul” on clarinet?
Practice “Stardust” and “Body and Soul” slowly, focusing on long phrases, breath planning, and intonation. Start with straight tone, then add gentle vibrato at the ends of longer notes. Sing the melody first, mark breath points, and work with a metronome or play-along to keep a steady underlying pulse, even in rubato sections.
What are common performance problems for clarinetists in jazz and how do I fix them?
Common problems include squeaks, sharp pitch, poor projection, and heavy articulation. Quick fixes include checking reed alignment, relaxing embouchure, pulling out the barrel slightly, and using lighter, more forward tonguing. Strong air support and a reliable setup also reduce issues during demanding jazz performances.
Where can I find reliable transcriptions and archival clarinet recordings for these standards?
Reliable transcriptions and archival recordings can be found through major music publishers, jazz education resources, and public archives such as the Library of Congress. Sites like JazzStandards.com and AllMusic provide discographies and recording details. Listening to classic clarinetists such as Benny Goodman, Artie Shaw, and modern players like Anat Cohen is important.
