The informal relative pitch that we all acquire through hours of practice is tied to our instrument, its range, and its timbre. Why is it that we assume it will be a non-issue to switch to a transposing instrument with sometimes radically different tendencies? It can be transformative to realize that a frustrated student is internally hearing Bb clarinet pitches when fingering notes on the Eb clarinet. The solution to this difficulty is disciplined practice of relative pitch specific to each transposing instrument. Kodaly’s method presents a detailed plan for introducing intervals and cementing their place in relation to each other. Application of this method for instrumental programs can take the form of long tunes to be performed in the order prescribed by Kodaly and using octave displacements to reinforce the concept. The long tone exercises provided in this article are designed for E-flat clarinet but can easily be adapted for any auxiliary instrument or transposed to address various tonalities.