How STL Ocarina Classifies Ocarinas and Why We Stand by Our System
Over the years, we’ve seen a lot of discussion online about ocarina naming. Do tenor ocarinas really exist? Why do different makers use different terms? And how are players supposed to make sense of all these labels when choosing an instrument?
Instead of debating terminology, we want to do something more useful. In this article, we’ll explain how STL Ocarina classifies ocarinas, why this system came to be, and why, after all these years, we continue to stand by it.
There Is No Single Global Standard for Ocarina Naming
One of the biggest sources of confusion around ocarina naming is the assumption that there must be one “correct” system. In reality, there is no single global standard for naming ocarinas. Different countries, traditions, and makers have developed their own ways of describing the instrument. Some classify ocarinas by pitch, some by size, and others by vocal range.
This isn’t a flaw in the ocarina world, it’s simply the reality of an instrument that developed across many cultures rather than within a single institutional tradition. Even in contemporary classical music, when composers have used multiple ocarinas in orchestral works (such as in György Ligeti’s Violin Concerto), the instruments were often named functionally, based on the sound the composer needed, rather than according to any universal taxonomy. Historically, naming has always served the music first.
The Scope of What We’re Explaining
Before going further, it’s important to clarify what this classification system applies to. What we describe here refers specifically to 12-hole ocarinas in concert pitch (meaning the notes sound as they would on a standard piano). Other types of ocarinas and other naming systems exist, and they are valid within their own contexts. What follows is simply how we at STL Ocarina understand and communicate about the instrument.
The Core Principle of the STL Ocarina Classification System
At the heart of our system is a simple idea: we classify an ocarina by its lowest tonic note—the “home note” that the instrument naturally settles on. This is not the absolute lowest sound the ocarina can technically produce, but the lowest stable note that defines where the instrument truly lives musically.
This distinction is important. Many ocarinas use subholes to extend their range downward, and those notes are absolutely usable in music. However, extension notes do not define the core voice of the instrument. The tonic note does. By focusing on the lowest tonic, our system reflects the musical identity and role of the ocarina rather than its extreme technical limits.
A Concrete Example: Tenor Ocarina in C Major
Let’s look at a real example to make this clearer. A 12-hole Tenor Ocarina in C Major typically has a full playable range from A4 up to F6. While it can reach A4 and B4 using subholes, the note the instrument naturally settles on—the home note—is C5. That C5 is where the ocarina feels stable, where melodies want to land, and where its musical role truly begins.
For this reason, even though the instrument can dip below C5 with subholes, those extension notes do not determine its classification. In our system, because the lowest tonic is C5, this instrument is classified as a Tenor Ocarina in C Major. This way of thinking mirrors how music treats human voices: we define them by where they naturally live, not by their extreme limits.
What “Tenor” Means in Music
Much of the confusion around ocarina naming comes from misunderstandings about what terms like “tenor” actually mean. In music, tenor does not simply mean “low.” It describes a role. Traditionally, the tenor voice sits between the higher voices and the bass and often carries important melodic lines. It bridges registers, adds warmth, and connects the upper and lower parts of the musical texture.
When we use the word “tenor” to describe an ocarina, we are referring to that same kind of musical function. We are not claiming a historical label or enforcing a universal taxonomy. We are using a familiar musical term in a practical, functional sense to describe where the instrument lives musically.
STL Ocarina’s Classification Divisions
Based on the lowest tonic note, our classification system is divided as follows:
Each category simply describes where the instrument lives musically. The divisions are continuous and non-overlapping, providing a clear and consistent framework for understanding different ocarina ranges.
Why We Use This System
This is not a system we adopted later on. We have used this approach from the very beginning because, as professional musicians, this is how we naturally understand the instrument. It reflects how we think about sound, range, and musical role—not just in theory, but in real musical practice. Over time, it has proven itself to be clear, consistent, and genuinely useful, which is why we continue to stand by it.
Why We Don’t Simply Follow Other Naming Conventions
Different makers use different naming systems, and that diversity is part of what makes the ocarina world rich. At STL Ocarina, we have chosen not to follow every convention simply because it exists. We use this system because we believe in it. We believe it is clear, consistent, and musically meaningful, and that it helps players understand their instrument more intuitively.
This is not about saying other systems are wrong. It’s about standing behind a way of thinking that has proven itself over time. In the end, names are only useful if they help musicians make sense of sound—and that has always been our goal.
The ocarina world is full of thoughtful perspectives, and we welcome that diversity of ideas. Whether you’re a longtime player or just starting out, we hope this explanation helped clarify how we think about ocarina classification and how to interpret the different names you may encounter.