How do you transpose for B-flat and A clarinet? For a B-flat clarinet transpose up a major second (whole step): to sound concert C, write and play D. For an A clarinet transpose up a minor third: to sound concert C, write and play E. Steps: identify concert key, shift the key signature by the instrument interval, shift every note by that interval, adjust accidentals, then double-check the new key signature.
What is clarinet transposition?
Clarinet transposition is the process of changing written notes so that a transposing clarinet plays the correct concert pitch. A B-flat, A, E-flat or bass clarinet reads different written notes than the sounding pitch. Transposition keeps fingerings familiar while matching the ensemble's concert key.
In practical terms, clarinet transposition answers one question: “What should I write or play so that the audience hears the right concert pitch?” Once you know the interval between written and sounding notes for each clarinet, you can adjust key signatures and notes quickly and accurately.
Transposition matters for students, band players, and arrangers because most scores are in concert pitch, while clarinet parts are written for specific instruments. Understanding clarinet transposition lets you read concert scores, create your own parts, and switch between clarinet types with confidence.
How clarinet transposition works: intervals and quick examples
Clarinet transposition is built on one simple idea: each clarinet type sounds a fixed interval away from what is written. If you know that interval, you can move every note and the key signature by the same distance to get the correct part.
Here are the standard written-to-sounding relationships for the most common clarinets used by students and professionals in bands and orchestras:
- B-flat clarinet: sounds a major second (whole step) lower than written
- A clarinet: sounds a minor third lower than written
- E-flat clarinet: sounds a minor third higher than written
- Bass clarinet in B-flat: sounds a major ninth lower than written (octave plus a whole step)
- C clarinet: sounds at written pitch (no transposition)
Quick examples using concert C as a reference:
- To sound concert C on B-flat clarinet, write D
- To sound concert C on A clarinet, write E
- To sound concert C on E-flat clarinet, write A
- To sound concert C on bass clarinet in B-flat, write D an octave higher
- On C clarinet, concert C is written C
Once you memorize these basic mappings, you can build everything else. Every key signature and every note follows the same interval rule. The challenge is applying it consistently under rehearsal pressure, which is where a step-by-step method and drills help.
Transposition rules for common clarinet types (Bb, A, Eb, Bass, C)
Each clarinet type follows a consistent rule that links written pitch to concert pitch. Keep these rules in front of you until they feel automatic. They apply to both key signatures and individual notes.
B-flat clarinet transposition rule
A B-flat clarinet sounds a major second lower than written. To write a part from concert pitch for B-flat clarinet, transpose everything up a major second. To read a concert pitch line directly on B-flat clarinet, mentally hear it a whole step lower than written.
Key examples:
- Concert C major (no sharps or flats) becomes D major (2 sharps) for B-flat clarinet
- Concert F major (1 flat) becomes G major (1 sharp)
- Concert B-flat major (2 flats) becomes C major (no sharps or flats)
Note example: concert E becomes written F sharp for B-flat clarinet. You move up a whole step and adjust the accidental to keep the correct letter name.
A clarinet transposition rule
An A clarinet sounds a minor third lower than written. To write a part from concert pitch for A clarinet, transpose everything up a minor third. This clarinet is common in orchestras, especially in music by Wolfgang Amadeus Mozart, Johannes Brahms, and Richard Strauss.
Key examples:
- Concert C major becomes E major (4 sharps) for A clarinet
- Concert E-flat major (3 flats) becomes G major (1 sharp)
- Concert F major (1 flat) becomes A major (3 sharps)
Note example: concert C becomes written E for A clarinet. You count C to E (C-D-E) as a minor third up and keep the letter names aligned.
E-flat clarinet transposition rule
An E-flat clarinet sounds a minor third higher than written. To write a part from concert pitch for E-flat clarinet, transpose everything down a minor third. This is the opposite direction of the A clarinet relationship.
Key examples:
- Concert C major becomes A major (3 sharps) for E-flat clarinet
- Concert B-flat major (2 flats) becomes G major (1 sharp)
- Concert G major (1 sharp) becomes E major (4 sharps)
Note example: concert C becomes written A for E-flat clarinet. From A up to C is a minor third, so the written note must be lower by that interval to sound correctly.
Bass clarinet in B-flat transposition rule
A bass clarinet in B-flat sounds a major ninth lower than written, which is an octave plus a major second. To write a part from concert pitch, transpose up a major ninth. Many players think of this as “up a whole step, then write it an octave higher.”
Key examples match the B-flat clarinet:
- Concert C major becomes D major for bass clarinet
- Concert F major becomes G major
- Concert E-flat major becomes F major
Note example: concert C in the staff becomes written D an octave higher for bass clarinet. The fingering pattern matches the B-flat soprano clarinet, but the written range is displaced by an octave.
C clarinet transposition rule
A C clarinet sounds at written pitch. There is no transposition. What you see is what you hear. Historically, C clarinets were common in 18th and early 19th century orchestras, but they are less used today compared to B-flat and A clarinets.
If you are reading a concert pitch score and playing a C clarinet, you can read directly without adjustment. This makes C clarinet a useful tool for students learning to hear concert pitch relationships before adding transposition layers.
Why these intervals exist: instrument anatomy and pitch
The reason clarinets are “in B-flat” or “in A” comes from their tube length and internal acoustics. A longer tube lowers the pitch, so an A clarinet is slightly longer than a B-flat clarinet, and both are longer than an E-flat clarinet.
When you finger a written C on a B-flat clarinet, the instrument's length and bore profile produce a concert B-flat. The same written C on an A clarinet produces concert A, and on an E-flat clarinet produces concert E-flat. Mouthpiece and reed setups are adjusted so that standard fingerings match the written scale, even though the sounding pitch changes.
Step-by-step method to transpose music for clarinet
A clear method reduces mistakes under pressure. Use the same steps every time, whether you are writing parts for B-flat clarinet or sight transposing a line for A clarinet in rehearsal.
Step 1: Identify the concert key and clarinet type
Look at the original music and find the concert key signature. Confirm whether you are working from a concert score or from another transposed part. Then confirm which clarinet you are writing or playing for: B-flat, A, E-flat, bass, or C.
Write down the transposition rule you need, for example “B-flat clarinet: up a major second” or “A clarinet: up a minor third.” This small written reminder helps prevent interval mix-ups when you are under time pressure.
Step 2: Shift the key signature by the correct interval
Next, move the entire key signature by the clarinet's interval. You can think in two ways: count up by the interval, or use a concert-to-written mapping chart. For B-flat clarinet, you always move the key up a whole step.
Examples from concert pitch to written pitch:
- B-flat clarinet: C major to D major, E-flat major to F major, G major to A major
- A clarinet: C major to E major, D major to F-sharp major, F major to A major
- E-flat clarinet: C major to A major, F major to D major, B-flat major to G major
Write the new key signature on your part before you start moving individual notes. This keeps accidentals cleaner and reduces clutter.
Step 3: Transpose each note by the same interval
Now move every note by the same interval you used for the key signature. Focus on letter names first, then adjust accidentals. For B-flat clarinet, move every note up a whole step: C to D, E to F sharp, G to A, and so on.
For A clarinet, move every note up a minor third: C to E, D to F, G to B-flat, A to C. For E-flat clarinet, move every note down a minor third: C to A, F to D, B-flat to G. Always keep the letter name sequence consistent with the original line.
Step 4: Adjust accidentals carefully
Accidentals often cause the most errors. After you move the note by interval, ask what accidental is needed to match the original pitch relationship. For example, concert E natural to B-flat clarinet: move E up a whole step to F sharp, not F natural.
Another example: concert A-flat to B-flat clarinet. Move A-flat up a whole step to B-flat. The letter name moves from A to B, and the flat carries over to keep the same relative pitch. Always think “same sound relationship, new note name.”
Step 5: Check octaves and range
Once notes and accidentals are in place, check that the line sits well on the clarinet. For bass clarinet, remember the octave shift. If a passage is too high or too low, you may need to adjust octaves while preserving the melodic contour.
Look for awkward breaks across the register shift between throat tones and clarion notes. Sometimes moving a phrase up or down an octave makes it more playable while still sounding correct in the ensemble texture.
Step 6: Verify with a tuner or concert instrument
Play a few notes from your new part while a piano, flute, or tuner plays the concert pitch. For B-flat clarinet, if you play written D and the tuner shows concert C, you have transposed correctly. For A clarinet, written E should show concert C.
This quick check catches key signature mistakes and wrong intervals before rehearsal. Many professionals keep a small concert pitch keyboard app or tuning device nearby when writing or checking transposed parts.
Maintenance checklist when switching clarinets
Good instrument care supports accurate transposition because it stabilizes pitch. When you switch between B-flat, A, and bass clarinets, follow a short checklist so tuning problems do not confuse your ear while you transpose.
- Swab each instrument after playing to keep the bore dry and stable
- Check tenon corks for a snug fit so joints do not leak and sag in pitch
- Rotate and clearly mark reeds for each clarinet type
- Use a tuner to set a consistent reference pitch on each instrument
Stable, well maintained clarinets make it easier to hear correct intervals and trust your transposed parts in rehearsal and performance.
Practice drills and exercises to build transposition fluency
Transposition becomes comfortable through targeted drills. Short, focused exercises are more effective than random sight reading. Aim for daily 10 minute sessions that combine written work and playing on your clarinet.
Drill 1: Concert C mapping on each clarinet
Start with the most basic mapping: which written note produces concert C on each clarinet. Write and then play these mappings until you can answer instantly without thinking. This anchors your sense of interval for each instrument.
- B-flat clarinet: written D sounds concert C
- A clarinet: written E sounds concert C
- E-flat clarinet: written A sounds concert C
- Bass clarinet: written D (an octave higher) sounds concert C
Have a friend or a tuner play concert C while you find the correct written note on your clarinet. Repeat in different octaves to solidify the relationship.
Drill 2: Scale transposition in 4 core keys
Choose four common concert keys: C, F, G, and B-flat. For each key, write and then play the transposed major scale for B-flat and A clarinet. Say the concert key and the written key out loud before you start.
Example: “Concert F major becomes G major for B-flat clarinet.” Then write the G major scale and play it. Repeat for A clarinet: “Concert F major becomes A major.” Over time, add minor scales and arpeggios to the same routine.
Drill 3: One-line melodies from concert pitch
Take a simple melody in concert pitch, such as “Ode to Joy” by Ludwig van Beethoven or a folk tune. Write it out in concert C major. Then create B-flat and A clarinet versions using the step-by-step method, and play each version.
Compare what you hear with a piano or concert instrument playing the original melody. The lines should match in pitch, even though your written notes are different. This trains both your eye and your ear.
Drill 4: Sight transposition on the stand
Place a concert pitch part on your stand and choose one clarinet, such as B-flat. Without writing, try to sight transpose in real time. Start with slow tempos and simple keys like concert C and F, then gradually increase speed and key complexity.
For B-flat clarinet, think “everything up a whole step” as you play. For A clarinet, think “everything up a minor third.” If you lose track, pause, re-center on a reference note like concert C, and resume.
Drill 5: Interval counting flashcards
Make flashcards with pairs of notes that represent your transposition intervals: C to D, E to F sharp, A to C, and so on. Mix in both major seconds and minor thirds. Test yourself quickly, naming the upper note or writing it on staff paper.
This drill reduces the time you spend counting on your fingers during real transposition. Aim to answer each card in under 2 seconds. When that feels easy, add accidentals and more complex note pairs.
Common mistakes and troubleshooting when transposing
Certain errors appear again and again when clarinetists transpose. Knowing these pitfalls helps you spot and fix them quickly, especially in rehearsal or recording sessions where time is limited.
Mistake 1: Wrong key signature after transposition
Many players move individual notes correctly but forget to change the key signature, or they choose the wrong new key. This leads to extra accidentals and intonation problems. Always transpose the key signature first, then the notes.
Troubleshooting tip: Use a small chart of common concert-to-written key pairs for your clarinet. For B-flat clarinet, remember three anchors: concert C to D, F to G, B-flat to C. If your new key does not match the chart, re-check your interval.
Mistake 2: Mishandling accidentals
Accidentals often get lost or misapplied. A common error is moving the note by interval but leaving the accidental unchanged. For example, concert E to B-flat clarinet should become written F sharp, not F natural.
Troubleshooting tip: After transposing a measure, scan for accidentals and ask: “Does this accidental keep the same sound relationship in the new key?” If the original note was a half step above another note, your new note must also be a half step above its neighbor.
Mistake 3: Confusing major second and minor third intervals
Players sometimes mix up the intervals for B-flat and A clarinets, especially when switching instruments in the same rehearsal. This leads to entire passages sounding a semitone off, which is very noticeable.
Troubleshooting tip: Anchor with the concert C mapping. For B-flat clarinet, concert C equals written D. For A clarinet, concert C equals written E. If you are not sure which clarinet you are holding, play written C and check with a tuner or piano to confirm the sounding pitch.
Mistake 4: On-the-spot errors in film or orchestra sessions
In film scoring or orchestra rehearsals, you may be asked to read a part in the “wrong” key or on a different clarinet than written. Under pressure, it is easy to forget the transposition rule and play at written pitch.
Troubleshooting tip: Before you start, quietly write the interval and a reference mapping at the top of the part, such as “B-flat: up M2, C to D” or “A: up m3, C to E.” Take 10 seconds to play that reference mapping with a tuner so your ear locks onto the correct relationship.
Mistake 5: Ignoring instrument tuning and maintenance
Sometimes the transposition is correct on paper, but the performance sounds off because the clarinet is out of tune. Leaky pads, loose tenons, or warped reeds can pull notes sharp or flat and make you doubt your transposition.
Troubleshooting tip: If something sounds wrong, first check your tuning with a stable concert pitch. If your written D on B-flat clarinet does not match concert C, adjust your embouchure, barrel, or reed before rewriting the part. Good maintenance supports reliable transposition.
Historical practices and Martin Freres legacy in clarinet transposition
In the 18th and 19th centuries, clarinetists often carried multiple instruments to avoid difficult transpositions. Players in orchestras under composers like Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Felix Mendelssohn would switch between C, B-flat, and A clarinets depending on the key of the piece.
Composers wrote separate parts labeled “Clarinet in B” or “Clarinet in A” so that the player could use familiar fingerings while the instrument's transposition handled the key. This practice reduced awkward fingerings in sharp or flat-heavy keys and kept tone quality more consistent across the range.
The C clarinet was once common, especially in earlier classical and military band music. Over time, it declined in favor of the B-flat and A clarinets, which offered a warmer sound and better blend in many ensembles. Today, C clarinets still appear in some historical performance settings and specialized repertoire.
Understanding this history helps modern players appreciate why transposition is built into clarinet practice. Where earlier musicians changed instruments to match the key, many contemporary players learn to transpose on the fly, especially in jazz, studio, and chamber settings.
Quick reference charts and downloadable cheat-sheets
Compact reference tools speed up learning and reduce errors. Use these charts as a mental template, and consider creating your own handwritten versions to keep in your case or folder. Writing them out reinforces memory.
Concert C mapping chart
| Clarinet type | Written note for concert C | Interval (written to sounding) |
|---|---|---|
| B-flat clarinet | D | Major second lower |
| A clarinet | E | Minor third lower |
| E-flat clarinet | A | Minor third higher |
| Bass clarinet in B-flat | D (one octave higher) | Major ninth lower |
| C clarinet | C | Unison |
Common key signature transposition chart
From concert pitch to written pitch:
| Concert key | B-flat clarinet | A clarinet | E-flat clarinet |
|---|---|---|---|
| C major | D major | E major | A major |
| F major | G major | A major | D major |
| B-flat major | C major | D major | G major |
| E-flat major | F major | G major | C major |
| G major | A major | B major | E major |
Use this chart to double-check your key signatures before writing or playing. Over time, you will internalize these relationships and no longer need to look them up.
Downloadable cheat-sheet ideas
Effective cheat-sheets for clarinet transposition typically include:
- A summary of each clarinet's interval and concert C mapping
- Concert-to-written key signature tables for B-flat, A, and E-flat clarinets
- Sample transposed scales and arpeggios in core keys
- A short checklist for step-by-step transposition
Keep printed copies in your case and digital versions on your tablet. During rehearsals, a quick glance at a cheat-sheet can prevent a full movement of wrong notes.
Key takeaways
- Each clarinet type has a fixed written-to-sounding interval: memorize these and everything else follows from them.
- Always transpose the key signature first, then move each note by the same interval and adjust accidentals.
- Short, daily drills with concert C mapping, scales, and simple melodies build reliable transposition skills in a few weeks.
- Historical use of multiple clarinets (C, B-flat, A) explains why transposition is central to clarinet playing today.
- Good instrument maintenance and clear reference charts reduce tuning confusion and transposition errors in real rehearsals.
FAQ
What is clarinet transposition?
Clarinet transposition is changing written notes so that a transposing clarinet plays the correct concert pitch. B-flat, A, E-flat, and bass clarinets sound different pitches from what is written, so parts must be adjusted by a fixed interval to match the ensemble's concert key.
How do I transpose music for a B-flat clarinet?
To transpose for B-flat clarinet, move the concert key and every note up a major second (whole step). Concert C becomes written D, concert F becomes written G, and so on. Adjust accidentals to keep the same sound relationships, then check with a tuner or piano.
How is transposition different for A, E-flat, and bass clarinets?
A clarinet sounds a minor third lower than written, so you transpose concert music up a minor third. E-flat clarinet sounds a minor third higher, so you transpose down a minor third. Bass clarinet in B-flat sounds a major ninth lower, so you transpose up a major ninth, often thought of as a whole step plus an octave.
How should I handle accidentals when transposing?
Move the note by the correct interval first, then choose the accidental that preserves the original pitch relationship. For example, concert E to B-flat clarinet becomes written F sharp, not F natural. Always check that half steps and whole steps between notes stay the same after transposition.
What are effective practice exercises to master transposition?
Useful exercises include mapping concert C to written notes on each clarinet, transposing scales in common keys, rewriting simple melodies from concert pitch, and practicing slow sight transposition from a concert score. Short daily sessions of 10 minutes build reliable skills over several weeks.
Why did historical clarinetists use multiple instruments instead of transposing?
In the 18th and 19th centuries, clarinetists often carried C, B-flat, and A clarinets so they could use comfortable fingerings in many keys. Composers wrote separate parts for each instrument, letting the built-in transposition of the clarinet handle the key, rather than asking players to transpose complex music on the spot.
How can I check if my transposition is correct in rehearsal?
Play a reference note from your part, such as written D on B-flat clarinet or written E on A clarinet, while a piano or tuner plays concert C. If the pitches match, your interval is correct. Also confirm that your written key signature matches a reliable concert-to-written key chart.
