About the Author

Arthur Weisberg (1931-2009) was an American bassoonist, clarinetist, conductor, composer, and author. Hailed as one of the great wind virtuosos of the twentieth century, he performed as a bassoonist with the Houston, Baltimore, and Cleveland orchestras, as well as the Symphony of the Air and the New York Woodwind Quintet. He also held conducting positions with the Milwaukee Symphony and the New York Philharmonic. Also an esteemed pedagogue, Weisberg taught at Juilliard School, State University of New York at Stony Brook, Yale School of Music, Manhattan School of Music, and Indiana University's Jacobs School of Music. (1)

Summary

The Art of Wind Playing is divided into two main sections, each with several chapters covering different topics. Although the chapters may be read in any order, first-time readers may find it helpful to start at the beginning. 

Part 1: Techniques

In this section, Weisberg discusses the mechanical aspects of playing a wind instrument, which he places into one of four categories: finger technique, the use of the tongue, the use of the air, and embouchure. Each of the five chapters in part 1 is related to one of these four categories. Each chapter is further divided into several related subtopics.

Chapter 1: Dynamics & Intonation

• Dynamics
• Intonation and Pitch
• Crescendo and Diminuendo
• Accents
• Legato Playing
• Longtone Exercises

Chapter 2: Single and Double Tonguing

• Staccato
• The Tongue and the Air
• Double-Tonguing
• Attack and Release of Notes Other Than Staccato (resonance)
• A Way of Ending Dificult Soft Notes 
• Attacks (different types)
• Exercises
  • Combinations of Attacks and Releases

Chapter 3: Vibrato

• The Basic Pulse
• Common Faults
• Variables to Be Controlled
• Exercises (beginner, intermediate, and advanced)

Chapter 4: Technique (of the fingers)

• Playing Difficult Passages
• Embouchure and Air
• Choice of Fingering

Chapter 5: Breathing

• The Physiology of Breathing 
• Making Time to Breathe
• Judging the Ammount of Air Needed
• Exercises

Part 2: Musicianship

This section is dedicated to describing the various musical styles of the five major eras of Western classical music and strategies for interpreting them. In this section, Weisberg addresses the ways in which the technical aspects of playing a wind instrument are translated into style and performance practice.

Chapter 6: Style

• Evolutuion of Style
• Renaissance
• Baroque
• Classical
• Romantic
• Contemporary

Chapter 7: Interpretation

• Time and Speed
• Time Signature-An Architectural Conception
• The Role of Attack and Release in Stressing Notes
• Other Ways of Stressing Notes
• Vibrato
• Legato Connection Between Notes
• A Practical Example

Commentary

Writing Style

Weisberg’s writing style is authoritative, but the tone is relatively informal. The intended audience is serious wind players, likely at university level or above. He provides definitions and matter-of-fact statements which are meant to be pondered by the reader and absorbed over time. Although he does make comparisons to string instruments (where a clear visual is helpful), he does not rely heavily on metaphor to convey his ideas. Instead, Weisberg works to describe the actual physical mechanics of each aspect of playing a wind instrument in broad conceptual terms.

Some readers may find this book to be dry or hard to understand. Our culture and the way that we receive information from the media has changed tremendously since this book was written. It may take more focused attention than what many are used to, but this book does have many valuable insights to share. The writing style requires readers to think deeply and synthesize the information they are reading before applying it to their own playing. Weisberg’s explanations are very detailed, so close reading is essential to ascertain his meaning. Charts & diagrams are provided to elucidate some concepts, but they do not serve to replace or break up the text. It may be helpful to underline or highlight important passages in the text while reading.

Main Takeaways

Several times throughout the book, Weisberg notes that diligent practice is necessary to gain control of embouchure, air, and articulation, etc, and that it will take many months (or longer) to master these skills at a high level. He acknowledges that although variations in anatomy from person to person do impact their inherent ability, with practice and time, everyone can improve their skills by learning to control the mechanics of their instrument.

This book may be best used for informational purposes- it is not a method book. While Weisberg does provide some exercises, they are left purposely vague so that they may be applied to all wind players. It is up to the player to determine how to adapt each exercise to suit their needs. Furthermore, it seems that Weisberg assumes that his readers will already be familiar with the types of exercises he provides because he rarely includes notated music. This approach to pedagogy may be indicative of the time at which this book was written- it doesn’t promise easy solutions or step by step instructions, but instead offers broad ideas which the reader must then explore through their own practice.

Although The Art of Wind Playing is widely regarded as an essential guide to playing a wind instrument, it is not irreproachable. There are two elements which may be “taken with a grain of salt.” First, Weisberg notes that vibrato and double tonguing are “completely unknown to many players.” (2) This may have been the case in 1975, but by today’s standards they are both regarded as standard essential techniques for the professional double reed player. Secondly, Weisberg uses “he” as a generic pronoun. Although at the time this book was written, it was standard practice to use “he” as a gender neutral pronoun, it is now considered to be outdated. Unfortunately, Weisberg had already passed away before widespread use of gender neutral pronouns in formal writing.

Conclusion

Considering purchasing your own copy of The Art of Wind Playing? Here’s a quick breakdown:

• The Art of Wind Playing covers the technical aspects of playing a wind instrument as well as descriptions of the major stylistic eras of Western Classical music.
• The book is Intended for advanced wind players, teachers, and conductors
• Weisberg discusses broad concepts, which serve as a guide in structuring one’s own practice

Works Cited

1. Arthur Weisberg” Indiana University Media Relations. Indiana University, 2005. Accessed via theWayBackMachine Internet Archive: http://newsinfo.iu.edu/sb/page/normal/971.html
2. Weisberg, Arthur. The Art of Wind Playing. Galesville, MD: Meredith Music Publications, 2007, viii.

Table of Contents:

• The Reed/Embouchure System
• Before You Begin
• Tests and Adjustments
• Conclusion
• Works Cited

The Reed/Embouchure System

Many bassoonists can attest that a bad reed can cause problems with intonation, tone production, and articulation. In some cases, it can lead to excessive fatigue or the development of unnecessary tension as a means of trying to force the reed to do what you need it to do. In his book, The Way Of Cane, Eric Arbiter notes, “...Individual bassoonists must find their own way to interface with the reed to accomplish their own musical, sound, and endurance situations.” (1)

Making careful adjustments to a reed can drastically change the way it sounds and feels to play. A reed that functions well should allow the player to produce their ideal sound quality while also playing in tune and with musical nuance. Aside from choosing a reed style that is a good match for your playing setup, making adjustments for response, intonation, and tone quality (in that order), can help ensure that your reeds function reliably.

Response refers to how readily a reed vibrates when air is blown through it, including how easy or difficult it is to play with clear articulation.

Intonation refers to the tuning of reed in general- controlled by its proportional dimensions (length, width, thickness, etc), as well as the tuning of specific notes. Since we cannot change the length of the bassoon (i.e. pushing in or pulling out) to adjust our tuning, we must rely on reeds being constructed to vibrate at the correct pitch level- around A=440 Hz.

Tone Quality refers to the blend of overtones which are present in the sound. Tone is often described using adjectives such as bright, dark, warm, rich, buzzy, muffled, clear, nasal, etc. This is heavily impacted by the instrument, bocal, reed shape, and player. Readers should be cautioned against overprioritizing a “pretty” tone, as this can negatively impact intonation and the ability to maintain a flexible embouchure. (2)

These three factors build on each other. One cannot expect to play with a beautiful sound if they are struggling to play in tune. It is difficult to play in tune on a reed that does not respond well. Most adjustments will impact all three factors. It is wise to start with adjusting for response because the intonation and tone will also likely improve. Conversely, if a reed has an undesirable tone, it probably does not play in tune or respond well (or the way it is constructed is not a good match for your playing setup).

Before You Begin

Ensure that your instrument is in good working condition, and that your reed does not have any cracks or moldy spots. Soak your reed in warm water for 1-2 minutes. After soaking, check that the wires are snug (not too tight). If they are loose, soak for another 1-2 minutes or tighten them very slightly.

Gather your tools:

• A reamer
• A holding mandrel
• A plaque
• A triangle diamond file (fine grit)
• A knife
• A ruler (preferably with millimeters or 32nd")
• A desk lamp
• A tuner

Familiarize yourself with the reed diagram in figure 1. It will be referenced throughout this post. 

Tests and Adjustments

Test #1: Crow

The crow is an important indication of how a reed will play. To test the crow, put the reed in your mouth up to the first wire, and blow air through it until a pitch sounds. In addition to this single pitch, will the reed also produce a crow with simultaneous high and low notes? Take note of the general pitch. Adjust the wires using the flow chart in figure 2 until a crow with both high and low sounds can be produced without strain.

Marc Eubanks recommends that for most players on most instrument/bocal setups, a reed should crow somewhere between an F and a G. (3) If the crow is lower than an F or higher than a G, it can indicate that the reed will not play in tune. Cross check with intonation tests below.

Test #2: Basic response

Play a 2 octave F Major scale, slurred, then tongued. Do all notes speak clearly, without biting or straining the throat or breathing muscles?
If yes, proceed to intonation tests.
If no, make adjustments below before continuing:

• Check for a normal size tip opening (1/16"). Open or close as needed, then retest.
• Check that the leading edge is as thin as possible (should not see wood grains). Use a knife or triangle file to thin the leading edge
• Check for an even taper from front to back by feeling the blades with your fingers. Sand any uneven spots.
• If response is heavy or requires biting, file or sand across the back 3rd of both blades to reduce resistance.

Test #3: Primary Intonation

In order to play in tune, a finished reed must allow for the correct bocal depth, be the correct length, and have a balanced scrape. Repeat the 2 octave F Major scale, noting the general intonation.

If flat overall or overly buzzy:

• Adjust wires for more blade arch (1& 2 top).
• Check bocal depth. Cross check with pitch on C3- if the reed does not go far enough onto the bocal (usually about 3/8th”), C will be flat. Ream as needed, re testing in between adjustments.
• Check the vibrating length (first wire to tip). Cross check pitch on E3, F3 & C#3. Clip back 1/32nd inch at a time, recheck in between each clip (may need to rebalance the tip after clipping).
• Let the reed sit out to dry overnight, then retest.

Avoid biting to raise the pitch. If the reed is still flat and has been clipped to an inch or less, the cane may be too soft. It may harden up a bit with time. A reed that is too flat at sea level might come in handy when playing at a higher altitude!

If sharp overall or the sound is muffled:

• Adjust the wires for less blade arch (1st & 2nd, top)
• Under a light, check for an even taper from the center towards the outer corners of the tip. Use a file or a knife to thin the tip/ corners slightly. Avoid removing cane from the critical point.
• Scrape the channels, working from back to front, and off onto the plaque. Cross check with pitch on A3 (tuning A) by slurring from A2 to A3. 
• Use your fingers to feel for any bumps or uneven spots.
• File or scrape across the back 3rd of both blades.
• Move the first wire back slightly.

If still sharp, the reed style might be too short or heavy for your set up.

Test #4: Secondary Intonation

In most cases, tests #1-3 should get a reed “in the ballpark.” However, depending on your instrument and performing situation, more detailed adjustments may be helpful to further customize your reeds. These tests require the most in depth scraping technique. 

4a. E-Flat 3/D 3 Comparison

Compare intonation on forked E-flat (LH 1& 3 only, leave off RH/ pinky resonance key) and D3. Go back and forth between slight scraping and wire adjustments until both E-flat and D are in tune. Also cross check with Ab/Bb trill test below. (4)

If flat:

• Round both wires slightly. Retest

If sharp:

• Close both wires. Retest.
• Thin and taper the tip, scraping on a diagonal out towards each corner as indicated in figure 3. Avoid removing too much cane from the front of the rails. Retest.

4b. A-flat/B-flat trill test:

This test helps center the pitch from B-flat 2 down to low f, which tend to be sharp on many instruments. Play low A-flat, trill RH 2 as indicated in figure 4 (right). 

If flat:

• Check pad heights and check for leaks.

If sharp or produces a multiphonic on the trill

• Scrape the mini channels (directly on either side of the spine/ center) in the front 3rd of the blade as in figure 5. (5) Also cross check tuning on B- flat 4. (6)

4c. Low register

Slur slowly from Low F down to low C. Check the intonation.

If flat:

• Check pad heights and check for leaks.

If sharp:

• Scrape across the back 3rd of the blade, as indicated in figure 6.
• In extreme cases, use a razor blade (with plaque & mandrel inserted) to thin the area directly in front of the collar on both sides. Only remove very thin slices to avoid cutting too deep.

4d. Middle Register

Play chromatically from A3 to F4, both slurred and tongued.

If flat:

• Check for an even rail taper (with a plaque inserted). Use a file to even out any thick spots. Retest.
• File across the window (center of the back) as indicated in figure 7. Cross check with low register intonation. Removing cane from the window will make the reed more flexible, which helps with air and embouchure adjustments in the tenor register.

If sharp:

• Check for an even channel taper from front to back. Scrape channels slightly to lower pitch. Retest

Conclusion/ General thoughts

• A reed that performs well should have a balance of stable intonation with enough flexibility to make adjustments in context (i.e. justified intonation).
• Be careful not to overscrape. Reeds change from day to day and often need time to settle after adjustments.
• If you have to make a lot of large adjustments to bring certain “trouble” notes in tune or can’t stay in tune generally, you may benefit from a reed adjustment.
• If a reed is very taxing to play on, or can only play loudly, the style might be too resistant for your set up.
• Adjust reeds primarily for response and intonation. If a reed responds well and plays in tune, but you don’t like the tone quality, consider trying a different reed style.

Questions? Contact us through our website or email our bassoon specialist at bassoon.hodgeproductsinc@gmail.com

Works Cited:

1. Arbiter, Eric, The Way Of Cane, (Oxford University Press, 2020) p. 39.
2. Bellamy, Cayla. “Reed Adjustments” Cayla Bellamy, Bassoon, Accessed December 4th 2025, https://www.caylabellamy.com/adjustments.html
3. Marc Eubanks, “Preliminary Tuning and Evaluation” Arundo Research Company, accessed December 11th 2025.
4. Marc G. Eubanks, A Quick Guide to Bassoon Reed Tuning, (Arundo publications, 2017), p. 7
5. Marc G. Eubanks, A Quick Guide to Bassoon Reed Tuning, (Arundo publications, 2017), p. 8
6. Marc G. Eubanks, A Quick Guide to Bassoon Reed Tuning, (Arundo publications, 2017), p. 11

Feel free to skip to each section for specific issues, or read in order for more details.

Table of Contents:

• Before You Begin
• Adjustments & Tests
• Conclusion
• Works Cited

Before You Begin

A bad reed can cause a slew of problems. However, reeds are not the only cause of performance-related issues. Before adjusting a bassoon reed, be sure to check the following:

• That the instrument and bocal are in good working condition
• That the bocal does not have any cracks (run lukewarm water through it, and plug up both ends. It should not leak.)
• Nothing is preventing the keys on the boot joint from closing (loose pants/ skirts or fabric seat straps) and no foreign objects are stuck inside of the instrument
• The bocal is pushed all the way in
• The whisper key pad completely closes the bocal tone hole
• That the player is using the correct fingerings

Once any mechanical issues have been ruled out, we can work to determine the cause of any reed- related issues. Check to make sure that your reed does not have any cracks or chips in the blade, and that there are no dark mold spots on the reed, as in figure 1, left.

Your bassoon reed may need to be adjusted if:

• It does not respond easily (is difficult to produce a sound)
• The crow is only high sounds or only low sounds
• It plays very flat or very sharp in general
• The sound is too buzzy, bright, dark or muffled

Adjustments & Tests:

When adjusting a reed, the primary concerns are the response, intonation, and tone- in that order. Readers should beware that overprioritizing a “pretty” tone quality can make it harder to play in tune or to maintain a comfortable embouchure while playing. (1)

A reed that responds well and plays in tune has the best chance of producing a rich, beautiful tone. That being said, the tone of a reed can help determine if it needs to be adjusted. If the sound is overly bright or buzzy, it is likely too soft. If the sound is overly muffled or dark, it is likely too hard. (2)

The tests below are designed to help determine the necessary adjustments. Go back and forth between the tests and associated adjustments several times, working incrementally. You can always remove cane from a reed, but you can’t put it back on! Remember that reeds will change from day to day, and may need time to settle after adjusting. Reeds that change back quickly or do not hold the adjustments may not be worth your time. Refer to the reed diagram in figure 2, left. These terms wil be used throughout this post. 

Tip: fully submerge reeds in warm water for 1-2 minutes before testing or adjusting.

Test #1: Reed Crow

The crow is a good indication of how the reed will play. If it is difficult to crow, the crow is only high sounds, or it won’t make a sound at all, the reed is likely too hard. If the reed crows very easily, but only produces low sounds, it is likely too soft.

To test the crow, put the reed in your mouth up to the first wire, and blow air through it. Avoid biting down on the reed or straining the jaw, throat, or breathing muscles. Use the flowchart in figure 3 to adjust the wires until a loud rattling crow sound with both high and low notes can be produced fairly easily. Figure 4 below shows how to use pliers to adjust the first and second wires on a reed.

Test #2: F major scale

This test helps determine the response and intonation in the bassoon’s fundamental register (within the bass clef staff). Play the F major scale slurred, then again tongued, as in figure 5. Repeat the scale after each adjustment. Take note of:

1. Do all the notes speak clearly?
2. How is the intonation, generally? (check with a tuner)
3. Is the tone very buzzy/bright or very muffled/dark?

Use the flowchart in figure 6 to make adjustments. You should be able to execute a clean slur throughout the scale and clear, easy articulation on every note. Be sure to retest the reed in between each adjustment. Figure 7 below demonstrates how to sand the sides (rails) of a reed and how to sand the blades.

Conclusion

If after making the above adjustments, you are still experiencing issues with response, intonation, or tone, your reed may need to be scraped with a knife or clipped to a shorter length. It may be helpful to consult our advanced bassoon reed adjustment post (or an experienced reedmaker) for more information.

Questions? Contact us through our website or email our bassoon specialist at bassoon.hodgeproductsinc@gmail.com

Works Cited

1. Bellamy, Cayla. “Reed Adjustments” Cayla Bellamy, Bassoon, Accessed December 4th 2025, https://www.caylabellamy.com/adjustments.html
2. Bellamy, Cayla. “Reed Diagnostics” Cayla Bellamy, Bassoon, Accessed December 4th 2025, https://www.caylabellamy.com/diagnostics.html

Table of Contents:

• Overview of Wrapping Options
  • Nylon Thread
  • Cotton Thread
  • Hot Glue
  • Heat Shrink Tubing
  • Rieger Plastic Tube Sleeve
  • Duco cement
  • Beeswax
  • Nail polish
• Wrapping Tutorials
  • Thread
  • Sealing with Beeswax
  • Sealing with Duco/ Nail Polish
  • Hot Glue
  • Heat Shrink Tubing
  • Rieger Plastic Tube Sleeve
• Conclusion

Overview Of Wrapping Options

Nylon Thread

Nylon is a synthetic fiber which was first developed in the United States during the 1930’s, and was first used to create fabric in 1940. Today it is used in a variety of textiles (sometimes blended with other fibers) including thread. Nylon was designed to be durable with more elasticity than cotton thread. We currently stock four brands of nylon thread in two different thicknesses: FF (the standard size, suitable for both oboe and bassoon reeds) and #2 (slightly thicker than FF, only suitable for bassoon reeds). Both thread sizes come in a variety of colors!

Cotton Thread

Cotton thread is made from 100% cotton fibers. The #10 thickness is commonly used for crochet projects, but is also great for wrapping bassoon reeds. Cotton thread is strong, but has less elasticity than nylon. It is also more absorbent than nylon- glue or beeswax will soak into the cotton fibers. We carry Omega brand cotton thread in 11 colors!

Hot Glue

Hot Glue is made from a special type of plastic, usually sold as cylindrical sticks. It is often used for arts and crafts projects and is applied using a hot glue gun (sold separately). The glue becomes very sticky when heated (often hot enough to burn skin), but cools and resolidifies quickly. Sealing reeds with hot glue is quicker than traditional thread wrapping, but caution is advised to avoid injury, especially with younger students. Hot glue comes in a variety of solid and glitter colors. 

Heat Shrink Tubing

Heat shrink tubing is made from plastic, and was originally used to protect electrical wires. It is designed to shrink in diameter when heated, resulting in an airtight seal. Each heat shrink tube can easily be cut to the correct length to fit over the tube of a reed. Comes in twelve colors.

Rieger Plastic Tube Sleeve

The Rieger Plastic Tube Sleeve is made from hard plastic designed to look like a traditional thread wrap. It is placed over the tube of a reed (secured using Duco Cement) for a quick and easy way to seal bassoon reeds. Note that the bottom wire should be removed before applying the Tube Sleeve. Comes in black. 

Duco cement

Duco cement is one of the most common options for sealing reeds. Many reedmakers use duco cement because it dries quickly (dry to the touch in about five minutes, completely set in sixteen hours), and creates a strong, water resistant coating. Duco can be used alone or over thread- it dries completely clear which is ideal for those looking to customize the color of their reeds.

Beeswax

Beeswax is a natural wax made by honey bees. It is collected by bee keepers as part of the honey harvesting process (which does not harm the bees). The wax is then filtered to remove any impurities before being used to make candles, cosmetics, other household items- and for wrapping bassoon reeds. Beeswax smells slightly like honey, and is a great alternative to duco cement. Note that melted beeswax will soak into cotton thread, creating an airtight seal. However, it is best applied to nylon thread before wrapping.

Nail polish

Clear nail polish is another alternative for sealing reeds.The brush applicator makes it easy to apply straight to the tube of a reed or over thread. It does create an airtight seal, but may not have as strong of a hold as duco cement. The nail polish we carry dries clear and is ready to use within a few minutes.

Wrapping Tutorials

Thread Wrapping

Hot Glue 

Beeswax

Duco Cement

Heat Shrink Tubing

Rieger Plastic Tube Sleeve

Nail Polish

Conclusion

Still can’t decide what type of reed wrapping is right for you? The pro/con chart below may help you decide. Consider factors such as personalization with colors, how much time you want to spend on wrapping reeds, and if you feel comfortable using heat to seal your reeds.

Edit: Bonus Method

An additional reed wrapping method, using plastic toothbrushes melted in acetone was suggested by a reader, Tom Schubert. His video tutorials are available on youtube and linked below. 

Questions? Contact us through our website. We’re happy to help!

Table of Contents:

• Seventeenth Century
• Eighteenth Century
• Nineteenth and Twentieth Centuries
• Other Types of Contrabassoon
• Conclusion
• Works Cited

Seventeenth Century

Just as with the bassoon and tenoroon, the contrabassoon traces its roots to the dulcian consorts of the late renaissance. Most common were the QuartFagot (descending to F2) and QuintFagot (descending to G2). These were often used interchangeably depending on the key of the piece. Although they were usually used to double an octaver below the written bass, they sometimes replaced the bass dulcian if the bass part laid low in the bass range, but more comfortably in the sub-contra range. In 1620 Michael Paetorius also described a very rare Fagotcontra or Octavbass dulcian, pitched one octave below the standard bass dulcian. These extra-large instruments were usually built in two or three pieces (to avoid mistakes when reaming such a long bore), and were then glued together. (1) An example of an octavbass dulcian is shown in figure 1, below.

The Eighteenth Century

The first true contrabassoons- constructed with four joints as with the baroque bassoon- were seen in France as early as the 1680’s, and there are several instruments which survive in museum collections from the turn of the 18th century. Figures two and three show two examples: a contra dating 1714 by A. Eichentopf, and a unique instrument from 1723 made by Johannes Maria Anciuti. A reconstruction classical contrabassoon can also be heard in the video below. 

During the Classical Era, the contrabassoon underwent many developments, similarly to its smaller siblings. Since these instruments were still shaped like overgrown bassoons, makers had to find ways to reduce the weight on the left hand, especially as certain toneholes were moved out of reach of an average fingerspan and keys were added. As instruments and technique standards began to improve, composers began to write more independently for the contrabassoon. These instruments varied considerably between makers, but most had between five and nine keys.(2)

Mozart wrote for contrabassoon (but no bassoons) in his Mauerische Trauermusik K. 477.

Beethoven also wrote for contrabassoon in his fifth and ninth symphonies.

The Nineteenth and Twentieth Centuries

As with the bassoon, innovations to the contrabassoon were the most pronounced during the nineteenth century. At first, many of the improvements that were made to the bassoon, especially those by Carl Almenräder and later Wilhelm Heckel, were difficult to implement due to the size of the instrument. However, the rod-axle key, borrowed from Theobald Boehm’s flute design was a complete gamechanger for the contrabassoon. This system allowed for toneholes to be placed at acoustically accurate positions, covered by a key which was operated by a touchpiece some length away (see figure 3). With the use of this technology, instrument makers could remodel the contrabassoon to reduce its awkward length and extend the range down to B flat 1 (sometimes even A 1). What has become the modern standard contrabassoon design was developed by the Heckel firm between 1879 and 1900. (3)

By the end of the nineteenth century, in the orchestra the contrabassoon functioned as a tonal bridge between the bassoons and low brass, provided reinforcement to the low strings, and was occasionally even given exposed solos. It was expected to handle parts requiring more agility and increased range- parts up to G and A 4 or higher were not uncommon. Late Romantic and Post Romantic composers of the late nineteenth and early twentieth centuries often wrote for increasingly larger orchestras, so it is not surprising that some of the most famous contra excerpts were written during that time period. A few of these are included below.

There is also a growing list of solo repertoire for contrabassoon. A small selection is included below.

Other Types of Contrabassoon

The Fast System

The “Fast System” was developed by Arlen Fast in the 1990’s and is manufactured by Fox Products. It is considered the first major redesign of the contrabassoon since the Heckel system was standardized at the turn of the 20th century. After winning his position with the New York Philharmonic Orchestra in 1996, Arlen Fast found himself struggling to play contrabassoon with the same beautifully even tone and clear articulation as he did on bassoon- and recordings confirmed that this was the norm for many other contra players as well. Driven to remedy the contrabassoon’s inherent acoustical faults, Arlen began researching and experimenting with modifying his own instrument. Eventually, he worked with Fox Products to finalize and begin manufacturing his updated design. In his publication, “Why It Was Time To Rethink The Contrabassoon,” Arlen Fast explains the details of his modified system, which primarily involves changes to the instrument’s mechanism to help reduce cracking on certain middle register notes, improve intonation and tone quality, and extend the upper range of the instrument. (4) Figure 4 shows a photo of a Fast System Contrabassoon.

Contraforte

The contraforte was designed by Guntram Wolf and Benedikt Eppelsheim in 2001. The goal of inventing the contraforte was to alleviate issues with projection and intonation that are inherent to the contrabassoon’s acoustics. The contraforte has a wider bore and shallower (non chimney) toneholes along with an automatic octave mechanism. While these aspects do create a more penetrating sound and wider dynamic range, they also sacrifice some of the essential characteristics of the traditional Heckel- type contrabassoon. The contraforte has a range from (sounding) A0 to C5- a half step lower and nearly a full octave higher than a standard contrabassoon. Below is a rare example of contrabassoon and contraforte being played together.

Conclusion

Mechanically speaking, the contrabassoon has come an exceptionally long way in the last few hundred years. Over time, the contrabassoon’s evolution was driven by many instrument makers and performers, in part by necessity, and in part by a fascination with the extremely low tessitura.

Interested in giving the contrabassoon a try? We’ve got everything you need to get started.

Questions? Contact us on our website. We’re happy to help!

Go to Introduction

Go to Chapter 1

Go to Chapter 2

Works Cited

1. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 187-9.
2. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 196.
3. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 199-200
4. Fast, Arlen, “Why It Was Time To Rethink The Contrabassoon.” The Double Reed, 2016.https://www.norapost.com/pub_recent/Time%20to%20Rethink%20the%20Contrabassoon.pdf.

However, the tenoroon also has roots in the late renaissance, and developed in a similar manner to the bassoon. This post will explore the history of the tenoroon.

Table of Contents

• Early Music
• Common Practice Period
• Modern Usage
• Conclusion
• Works Cited

Early Music

As we noted in chapter 1, the bassoon is the direct descendant of the dulcian, which was in use in the late renaissance and early baroque periods. In his 1620 treatise, Syntagma Musicum, music theorist Michael Praetorius describes several sizes of dulcians used in consort music. At this time, five-part harmonies were commonplace, so we can assume that a five-voice dulcian consort would be the norm. Figure 1 (right) shows the standard five voice dulcian consort comprised of a soprano, alto, two tenors, and a bass.

As we discussed in chapter 1, the bass dulcian (descending to C2) eventually evolved into the modern bassoon. Praetorius describes three smaller dulcians, the tenor (descending to G2), alto (descending to D3), and “diskant” or soprano (descending to A3).  Praetorius also describes three sizes below the bass, Quartbassfagott (a fourth lower), Quintbassfagott (a fifth lower), and the rare Octavbassfagott, which will be discussed in detail in chapter three. Figure 2 below shows the approximate range of each member of the dulcian family.

The Common Practice Era

In the common practice era (1600-1900), the advent of the jointed bassoon also led to creation of two smaller bassoons, the tenoroon, pitched in F and the fagottino, pitched in C (an octave above bassoon). (2) Figure 2 (left), a fagottino made by J.C. Denner, made circa 1700 is on display at the Museum of Fine Art in Boston.

Music calling for smaller bassoons is rare, but recent work of The Fagottino Project indicates that the instruments did indeed survive into the nineteenth century as a performing instrument in its own right. James Kopp notes that in the 18th and 19th centuries, that smaller sized bassoons weren’t always specified in musical scores.The generic term “fagott” was understood to mean “the appropriate size of bassoon,” depending on the range of the piece in question. (3)

For example, in the video below of a performance of Georg Philipp Telemann's cantata, “Abscheuliche Tiefe des grossen Verderbens,” the bassoon part is noted in alto clef, and would not fit the range of the standard baroque bassoon. However, the part lies in a comfortable range for the fagottino.

One rare instance of an 18th century piece that specifically calls for smaller bassoons is Johann Georg Michael Frost’s Parthia IV for 2 octave bassoons, 2 tenoroons, 2 bassoons, and 2 horns in C. Frost was employed as a musician in the Dresden court, and his daughter was married to the prominent instrument maker, Heinrich Grenser. (3)

Modern Usage

By the late 19th century, the practice of using smaller bassoons seems to have faded from popularity, although Heckel continued to offer them until 1907 and Evette and Schaeffer (an English maker) until 1912. As noted above, the instrument lay mostly dormant until the 1990s. Since then, some professional bassoonists have advocated for the tenoroon and fagottino as performance instruments. Bassoonist and composer Victor Bruns (1904-1996) wrote two original pieces for “tenor bassoon,” his trio for Tenor bassoon, bassoon and contrabassoon, op.97, and his sonatina for tenor bassoon, op. 96. The latter also has a transposed version for bassoon, which is more often performed.

There are also a number of transcriptions of standard bassoon repertoire for tenoroon. In the following video, Richard Bobo (known for developing the subcontrabassoon) performs Four Sketches for Bassoon and Piano by Gordon Jacob. Bobo adapted the piece for tenoroon by transposing each movement into a higher key and adjusting the piano part accordingly.

Conclusion

Have you caught the tenoroon bug yet? If you’re itching to give this instrument a try, we’ve got you covered with tenoroon reeds from RM reeds!

As always, please feel free to contact us with any questions. We’re happy to help!

Go to Introduction

Go to Chapter 1

Go to Chapter 3

Works Cited

1. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 22-23.
2. Waterhouse, William. “Bassoon, 10. Other Sizes.” Grove Music Online, 2001. Accessed September 22, 2025.
3. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 225.
4. https://soundcloud.com/john-mcdougall1/jgm-frost-parthia-iv-for-2-octave-bassoons-2-tenoroons-2-bassoons-2-horns-ca1786

Table of contents

• The Baroque Bassoon
• The Classical Bassoon
• The Romantic Bassoon
• Conclusion
• Works Cited

The Baroque Bassoon

It is not clear exactly when or where the baroque bassoon was first invented, although some sources credit French instrument maker Nicholas Hotteterre with producing it around 1685 for the court orchestra of King Louis XIV. The dulcian and baroque bassoon existed side by side for many years before the latter eventually reigned superior. Hotteterre’s new instrument was made with four joints and had three keys for low F, low D and low B-flat.The separated joints allowed each section of the instrument to be tuned individually. As the French musical style began to spread, Hotteterre’s design was copied and distributed by instrument makers in other areas of Europe. J.C. Denner (1655-1707) of Nuremberg, who had previously been known for building dulcians, began producing bassoons in 1696 (see figure 1, right). (1)

At first, the Baroque bassoon was primarily used as a bass instrument, doubling the low strings or playing continuo parts in chamber music. However, as early as the turn of the 18th century, composers had begun to push the bassoon into the tenor register. French opera composer, Jean- Philippe Rameau (1683-1764), wrote numerous exposed obligato parts for bassoon, perhaps foreshadowing the different roles of the bassoon which would evolve in the classical era. One example is an aria, Lieux Funestes from his 1744 opera, Dardanus. (3)

Developments to this instrument over the next century were gradual. Eventually, two more keys were added for G-sharp and low E-flat. (figure 2, left) (2) There are two (of many) German instrument makers,whose instruments bridge between the baroque and classical styles: Carl Augustin Grenser (1720-1807) of Dresden, and Johann Heinrich Eichentopf (1678-1769) of Leipzig. Grenser began making and selling instruments in Dresden in 1744, and was appointed as the official instrument maker for the wealthy Saxon court in 1753. By 1756, the Dresden court orchestra employed six bassoonists! (3) Eichentopf was working in nearby Leipzig when J.S. Bach became Kapellmeister there in 1723. His surviving instruments are the most often used for models of modern reproductions. (4)

Baroque Era Repertoire of Note:

• Georg Philip Telemann, Sonata in F Minor, 1728
• Johann Ersnt Galliard, Six Sonatas, 1733
• Antonio Vivaldi, Concerto for Bassoon and Strings, in G minor RV 495

The Classical Bassoon

In the second half of the 18th century is when the bassoon started to resemble the modern instrument we have today. Several key factors spurred on the development of the bassoon during this period: rising orchestral pitch levels, and the increased use of woodwinds as solo instruments within the orchestra, increasing harmonic complexity in orchestral repertoire, and a need for a more powerful sound. (5) In addition to playing basslines, the bassoon was now often used to double the upper woodwinds, violin, and voice in unison or octaves. This required more technical facility and projection in the upper register, which was facilitated by redesigning the bore to be longer and with thinner walls than the baroque bassoon. An example of this type of scoring is found in Mozart’s 1788 Symphony no. 41 “Jupiter.”

There is a notable difference in sound quality between the baroque and classical bassoons. The new classical bassoons had more high overtones in the sound spectrum, resulting in a brighter, more penetrating sound. (6) Despite these innovations, many chromatic notes could only be produced via forked fingerings, resulting in uneven tone, volume, and intonation. To combat this, bassoon-specific pedagogy materials began to emerge in the late 18th century. Players had to learn to adjust for pitch with their embouchure, similarly (although to a greater extent) to what we still do on modern bassoon. Books such as Etienne Ozi’s 1787 Nouvelle Méthode de Basson, advise bassoonists to “imitate the beautiful human voice.” (7) This demonstrates that despite the instrument’s mechanical shortcomings, performers were still striving for a sound quality that was even, full, and resonant throughout its range.

The addition of extra keys was still relatively slow. Shortly after Heinrich Grenser (1764-1813) inherited the Dresden-based instrument firm from his uncle in 1796, he made a radical move: shifting the low E-flat key from the back of the instrument (operated by the left thumb) to the front (operated by the left pinky). This marked the first major departure between the French and German style instruments.  Figure three (right) shows a reproduction classical bassoon with eight keys- low F, G-sharp, low E-flat, low D, low C, and high A and C speaker keys on the wing joint.

Classical Era Repertoire of Note:

• Concerto in B-flat Major for Bassoon, K. 191, W.A. Mozart, 1774
• Six Sonatas for Bassoon and Continuo, op. 24, François Devienne
• Franz Danzi, Wind Quintet op. 56, no. 1

The Romantic Bassoon

During the nineteenth century, the bassoon underwent several dramatic changes, eventually resulting in the instrument we know and love today. The Romantic era was a period of rapid scientific discovery and technological innovation thanks to international trade exhibitions and the mass production of musical instruments.

One such important discovery was of the longitudinal vibration of the air column found inside musical instruments as the source of sound, first described by “the father of acoustics,” Friedrich Chladni in 1802. This idea was expanded upon by music theorist and conductor, Gottfried Weber in 1815. He proposed that the bassoon’s uneven scale could be remedied by moving certain toneholes to acoustically optimal positions along the length of the bore and adjusting the size of the toneholes accordingly. This idea caught the attention of Weber’s colleague, bassoonist Carl Almenräder (1786-1843).(8) This principle also led to the invention of the saxophone and several other instruments.

In 1823, Almenräder published his Treatise on the Improvement of the Bassoon, listing several proposed changes to H. Grenser’s "Dresden Bassoon," which was considered the industry standard at the time. Almenräder’s design featured adjustments to the bore and tonehole proportions for several notes to improve resonance and intonation. He also added keys for low B, low C-sharp, and alternate G-sharp and B-flat keys (for the right thumb and right 3rd finger, respectively), which improved facility and eliminated the need for most chromatic forked fingerings. (9)

Almenräder’s work was further expanded upon by Johan Adam Heckel, founder of the Heckel company (the two worked together briefly from 1829-1838). Many etude and method books which are widely used today were written as a response to these new developments. In 1877, Johann Adam’s son, Wilhelm Heckel took over the company. His continued developments resulted in what is known today as the Heckel System. By the turn of the twentieth century, Wilhelm’s design had become the archetype of the German-system bassoon.

Romantic Era Repertoire of Note:

• Concerto for Bassoon in F Major, op. 75, Carl Maria von Weber
• Bassoon Concertino, op. 12, Ferdinand David
• Bassoon Konzertstük, op. 2, Franz Berwald

Conclusion

Although the bassoon has changed dramatically in its three-hundred year history, the essentials that make the bassoon unique- the shape of the bore and toneholes- have persisted to preserve its beguiling sound. This post is just a snippet of the large and varied repertoire available for the bassoon.

Interested in playing historical bassoon? We stock processed cane, shapers, and tip profile templates for baroque bassoon!

Go to Introduction

Go to Chapter 2

Go to Chapter 3

Works Cited

1. Waterhouse, William. “Bassoon, 3. The Early Bassoon.” Grove Music Online, 2001. Accessed September 22, 2025. https://doi-org.suproxy.idm.oclc.org/10.1093/gmo/9781561592630.article.02276
2. Waterhouse, William. “Bassoon, 3. The Early Bassoon.” Grove Music Online, 2001. Accessed September 22, 2025. https://doi-org.suproxy.idm.oclc.org/10.1093/gmo/9781561592630.article.02276
3. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 76.
4. Rachor, David. Eichentopf, Johann Bassoons. Accessed September 25th, 2025. https://davidrachor.com/eichentopf-johann-bassoons/
5. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 86.
6. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 87.
7. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 91
8. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 115-116
9. Kopp, James B. The Bassoon. New Haven, Yale University Press, 2012. 117

Table of Contents

• Early Woodwind Ancestors
• The Bassoon Idea
• Works Cited

Early Woodwind Ancestors

Similarly to other woodwinds, the lineage of the bassoon can be traced back to at least the mid 1500s in Europe. Instrument nomenclature was not particularly specific at this time, and there are four words which may have been used to describe an early bassoon-like instrument: curtal (referring to its shortened, folded bore), dulcian (referring to its more mellow sound as compared to the shawm), bassoon (referring to its role as a bass instrument), and faggot (referring to its resemblance to a bundle of sticks). (1) We will use the term dulcian to refer to the early bassoon-like instrument which was in use from the late renaissance into the baroque era, pictured in figure 1 (right).

There were other early double reed instruments, such as the shawm and the racket which were eventually supplanted by the dulcian. Both the shawm and the racket were used in rennaisance consorts- families of instruments built in different sizes (the soprano shawm is considered an ancestor of the modern oboe). In his 1620 treatise, Syntagma Musicum, composer Michael Praetorius lists several instruments- the dulcian, shawm (also called a pommer), racket, and a type of bagpie in several sizes. These are pictured below in figure 2. 

One speculation is that the dulcian was developed to take the place of these instruments because it borrows the curved crook of the bass shawm and the folded conical bore of the racket. The racket and bass shawm can be heard in the videos below. (2)

The Bassoon Idea

The dulcian eventually supplanted the shawm and racket because it was easier to carry than the gigantic bass shawm and had a sweeter sound than the buzzy racket. A Dulcian consort can be seen in the following video.

The bass version of this instrument is what many would consider to be the direct predecessor of our modern bassoon. The two key characteristics which separated the dulcian from its predecessors- the folded conical bore and deep, narrow “chimney” toneholes- were retained in the construction of the bassoon. Despite centuries of technological advancements and changing musical styles, listeners and players alike have gravitated to the unique sound quality produced by the instrument.

The infographic below summarizes key moments in the history of the bassoon. Subsequent chapters will address important details about the players, instruments, and repertoire for each historical era.

Works Cited:

1. Kopp, James B. The Bassoon. New Haven, Yale University Press. 2012. 5.
2. Waterhouse, William. “Bassoon, 3. The Early Bassoon.” Grove Music Online, 2001. Accessed September 22, 2025. https://doi-org.suproxy.idm.oclc.org/10.1093/gmo/9781561592630.article.02276

• The Life Cycle Of The Oboe Reed
• How Often To Replace Oboe Reeds
• How To Improve The Lifespan Of An Oboe Reed
• How To Tell When You Need A New Oboe Reed

When I was a young oboist, I often found that the sound coming from my oboe would be balanced and controlled one day, and soft and effortful the next. At the time, it was confusing to me. Was it something I was doing wrong? Was my oboe broken? Often, the culprit was the reed itself!

Knowing when it is time to get a new oboe reed is a crucial aspect in learning to play the oboe. At the beginning of each lesson with my double reed students, I always examine the reed that the student will be playing on. Occasionally, when I am handed the reed, I unfortunately see what resembles more of an experiment in the resilience of wood than a functional oboe reed! I have seen reeds with mildew and mold growing on them, cracked reeds, tips of reeds that look like they were chewed on, and many other problems that cause the reed to be in a less than ideal condition. Despite these seemingly glaring problems, students will still try to “play” on the reed because it still makes a sound as it clings to life.

The Life Cycle Of The Oboe Reed

To better understand this “life” that the oboe reed clings to, let us examine the four stages of the oboe reed: Making the Reed, Breaking In the Reed, the Golden Period, and Deterioration (figure 1, below).

1. Making the Reed: Experienced oboists will typically make reeds for themselves and for students. The process to make oboe reeds takes several hours that may span over a few days. The oboe reed is tested and refined until it is ready to be played on.
2. Breaking In the Reed: Reeds for any woodwind instrument, like a good pair of shoes, must be broken in. This process allows the reed to adjust to the environment and the player; this process takes about one to three days. When initially obtaining a reed, it may feel resistant and hard to play for extended periods of time.
3. The Golden Period: Once the reed is successfully broken in, it enters what is called the “Golden Period.” This stage reflects peak performance of the reed’s response, intonation, and tone. This period usually lasts from a few days to a few weeks, depending on the reed and how well the reed is cared for!
4. Deterioration: All good things must come to an end, as every oboe reed inevitably enters the final stage, “Deterioration.” As the reed ages and is played on for an extended period, the reed opening will become smaller, the pitch of the reed will rise, and the reed will produce a small and closed-off sound. Throughout the “Golden Period,” a natural bacterial growth will form on the inside of the reed that sits on top of the cane. When the reed enters “Deterioration,” the biofilm hinders the vibrations of the oboe reed, and the bacteria begins to weaken cane fibers. It is important to note that the bacteria, not saliva, cause the cane fibers to break down and cause the reed to deteriorate. At this point, it is time to start the process over again with a new reed.

Steps For Breaking In The Reed:

1. Soak the reed for approximately 1-2 minutes
2. Play for a short practice session (warm-ups in band class, individual scale practice, long tones, etc.)
3. Let the reed dry in a ventilated reed case (at least 30 min.)
4. Soak the reed again and play on the reed for longer periods (band class, rehearsals, practice sessions, etc.)
5. Repeat this process over 2-3 days until the reed plays comfortably

How Often Should I Replace My Oboe Reed?

This is truly the million-dollar question plaguing band directors and students alike! The answer ultimately depends on what level the oboist is at, how frequently the oboist is playing, and how well the reed is taken care of. Despite the varying factors, oboe reeds will last for approximately 10-15 hours of playing when cared for correctly. I know, this seems like a shockingly small amount of time for a reed to be in playable condition!

Although it seems like a small amount of time, the playing time for beginning oboists will span across a few weeks. If a band class is an hour long, the student may only be playing for about half of the class time, as the band director will talk, provide instruction, and work with other students. Therefore, if the beginning student is playing a minimum of 30 minutes a day, 5 days a week, one oboe reed should last approximately three weeks if also taken care of properly.  Refer to figure 2 (right) for an approximate reed purchasing timeline.

Improving The Lifespan Of An Oboe Reed

It’s no secret: all oboists inevitably realize that oboe reeds are expensive, fragile, and temperamental. Throughout my years playing the oboe, I have learned the importance of taking care of the oboe reed and have seen firsthand how proper care results in longer lasting reeds. Although reeds have a short lifespan and are certainly not immortal, incorporating the following tips for reed care may help your reeds last a little longer.

• Brush your teeth before you play, and do not eat or drink anything other than water while playing.
• Rotate between multiple oboe reeds. Rotating between reeds will give them a chance to readjust, dry out, and help keep the reeds from degrading quickly!
• Store your reeds securely in a hard reed case with ventilation.
• Soak your reeds in a small cup of water, not your mouth!
  • Be sure to change the water that you soak your reeds in every day!
• Handle your reed with care! Try not to bump it or chip it on any objects (chair, music stand, clothes, teeth, etc.).
• Clean the inside of the oboe reed extremely carefully by running a small brush from the bottom through the top of the reed. Remove the brush slowly to avoid damaging the tip of the reed.
• Clean the oboe reed with an ultrasonic reed cleaner.

How To Tell If You Need A New Reed?

“WEE WOO!” There are glaring red flags in both the appearance and the sound of the oboe reed to indicate if it is time to purchase or make a new one. Being able to identify specific characteristics of your reeds is crucial in determining if the reeds are considered healthy or unhealthy. Grab your reed case, open it up, and compare each of your reeds to the lists below!

Healthy Oboe Reed Checklist:

• The color of the cane is golden brown
• The opening of the tip looks like an oval
• The top of the reed is a straight line
• The reed crows a “C”
• Producing a sound on the oboe is moderately effortless.

Tip: To crow an oboe reed, remove the reed from the oboe. Using only the reed, carefully place the reed in your mouth and put your lips at the point where the thread meets the cane. Turn a tuner on, blow, and see what note registers on the tuner. A healthy oboe reed will crow at a “C.”

Red Flags For Unhealthy Oboe Reeds

• The color of the cane is tinted black or has black spots (mold)
• The reed has small or large cracks
• The tip opening is not an oval, or is too closed to see all the way through the reed
• The top of the reed is jagged, frayed, or chipped
• The reed has a foul smell when you open the reed case
• Producing a sound on the oboe has become increasingly more difficult
• The reed is difficult to articulate on, plays out of tune, or has a reduced dynamic range
• The reed crows any pitch besides a “C”
  • Talk to your teacher- this may be able to be adjusted
• The thread becomes loose and begins to unravel

Other Considerations

There are certain situations which may appear to be a reed problem, but are actually an issue with an incorrect fingering, incorrect embouchure, or with the instrument itself. If your reed seems to produce wrong notes, or notes frequently come out in the wrong octave, it's best to consult your teacher or an experienced oboist to rule out the problem. 

Conclusion:

Let’s recap: oboe reeds have a natural lifespan that lasts between a few weeks to a few days. Although they do change from day to day as they are soaked and dried, healthy functioning oboe reeds should play comfortably in tune and respond without undue embouchure effort. Compare your reeds to the photos below. If you see any cracks, chips, or black spots, it's time to get a fresh reed! The good news is that we stock a variety of oboe reeds, including synthetic reeds to fit the needs of players at all levels.

Still have questions? Contact us through our website. We’re happy to help!

Works Cited

Figure 3A: Danny Cruz, photo. Accessed September 16th, 2025. https://www.oboefiles.com/reed-death-how-to-tell-if-your-oboe-reed-is-broken-or-needs-replacing/

Figure 3B: Photo of a moldy bassoon reed. Username r/bassoon. 2021. Reddit. Accessed September 10th, 2025. https://www.reddit.com/r/bassoon/comments/tbcspz/is_this_mold_and_is_it_safe_to_play_on_this_reed/#lightbox

Figure 3C: Photo fo a chipped oboe reed. Username BaconBurgerBae. 2022. Reddit. Accessed September 16th 2025. https://www.reddit.com/r/oboe/comments/xg8svi/ebay_seller_complete_with_a_likenew_medium_reed/

The two main concerns with reed storage are the humidity level and air circulation. It may be helpful to consider this in relation to the children’s story, Goldilocks and the Three Bears (see figure 1). Just as Goldilocks experienced the various items in the home of the Three Bears to be too big, too small, or just right, reeds can be stored in environments which are too humid (with not enough air circulation), too dry (too much air circulation), or just right.

This post will outline the do’s and don’ts of reed storage to help keep your reeds playing beautifully. Read on for the details, or jump to each section below:

• Too Humid: Mold Causes and Prevention
• Too Dry: Bad Response and Resonance
• Just Right: Ideal Relative Humidity
• Conclusion
• Works Cited

Too Humid: Mold Causes and Prevention

Picture this: You’ve just made a batch of reeds, and are all set for your upcoming semester/concert cycle/tour. Your reed making routine is a well-oiled machine- you have reeds in various stages of the finishing process tucked neatly into your reed cases.

Then, disaster strikes- (as in figure 2, left) you open your case one day to find that your reeds are covered in mold! Yuck!

Reed cane, also known as arundo donax, is a type of tall perennial grass. As many readers are aware, cane must be soaked during each step of the reedmaking process as well as before playing. Soaking makes the wood pliable and helps it vibrate. Being a natural substance, this need for soaking also makes cane susceptible to growing mold if not allowed to dry properly in between uses.

As bassoonist Jessi Vandagriff notes, mold can also be caused by the following factors: (1)

• Storing your reed case inside your bassoon case, where there is less ventilation.
• Playing right after eating- food particles in your saliva are food for the mold!
• A dirty reed case- previous mold infestations can linger
• A gunky bocal- buildup inside the bocal can also lead to mold growth

What to do if a reed gets mold on it?

The short answer is to throw it away. As a last resort, submerge in a 1:1 solution of hydrogen peroxide and water for a couple of minutes to kill the mold and then air dry completely before playing.

The more long term solution is to invest in a case that allows for sufficient airflow. Look for small holes on the side of the reed case as shown in figure 3. Never use the plastic shipping tubes as a regular reed case (at the very least, take the reed out and poke a few holes in the plastic).

Too Dry: Bad Response and Resonance

On the opposite end of the spectrum is a reed storage environment which is too dry. When cane dries, the fibers of the wood contract, causing the reed to shrink. This is most noticeable in wires that have become loose and slipped out of position. Excessive dryness also decreases the ability of the cane to vibrate readily, resulting in reeds that feel stuffy or unresponsive.

If you live somewhere that experiences cold winters, this can be especially problematic. Here in Virginia, the humidity can fluctuate between a swampy 77% in the summer to 67% in January (having the heat on in your house during the winter will also play a role). It may be helpful to check the climate and weather averages in your area to better understand how your reeds will be affected by the changing seasons. (2)

In extremely dry climates, it may be helpful to keep your reed case inside a ziplock bag to prevent excessive drying out. The author also opts to soak reeds in warm water, and allow more time for soaking during the winter months.

In the video below, bassoonist Andrew Burn describes the differences in his reed storage routine depending on the weather. He also advocates for placing a small sponge with a few drops of mouthwash inside the reed case. The liquid helps keep the reeds sufficiently hydrated, while also preventing the growth of mold or bacteria.

Just Right: Ideal Relative Humidity

As we have already discussed, the longevity and performance of a reed is heavily influenced by environmental factors. Is there a “just right” combination of humidity level and air flow that will both prevent mold, and allow reeds to play at their best?

First, a bit of science:

Relative Humidity, expressed as a percentage, is a measure of the amount of moisture in the air compared to the maximum amount of water vapor that could exist in the air at a given temperature. Warm air can hold more water vapor than cold air. (3) Figure 4 shows the relationship between temerpature and relative humidity. 

Some bassoonists believe that keeping their reeds at a fairly constant relative humidity level helps to increase the reed’s lifespan and prevent both the “too humid” and “too dry” scenarios described above. Some players may find that an ideal relative humidity is between 68-72%, but the exact number will depend on the climate where you live and the conditions under which you perform.

Barry Stees recommends storing your reed case along with a piece of orange peel in a ziplock bag with a small hole cut in it. The orange peel adds moisture, while the hole prevents mold growth. (4) Some players also use cigar humidifier packs (placed inside a plastic bag along with the reed case), which absorb and release moisture accordingly to keep the humidity at a constant level.

Another option is to use a reed case equipped with humidity control such as the Reed’s N Stuff Hygro Case or the Musecho Leafy Case (see figure 4). These both contain a small sponge which releases moisture inside of the case as well as a dial which measures the humidity inside of the case. It is important to note that it is necessary to periodically open the case to allow air to circulate.

Conclusion

Proper storage is an important component for ensuring that you get the most out of your reeds.
Below is a summary of the do’s and don’ts of bassoon reed care.

Questions? Contact us through our website. We’re here to help you craft the perfect sound!

Works Cited:

1. Vandagriff, Jessie. “Help For Moldy Reeds.” TeachBassoon.com. Accessed September 9th 2025. https://www.teachbassoon.com/help-for-moldy-reeds/
2. “Climate and Weather Averages in Northern Virginia, USA.” Timeanddate. Accessed September 9th 2025.https://www.timeanddate.com/weather/@12216875/climate
3. “Discussion on Humidity.” The National Weather Service. Accessed September 11th 2025. https://www.weather.gov/lmk/humidity
4. Stees, Barry. “Winterizing Your Bassoon Reeds.” Barry Blogs. January 7th, 2013. http://steesbassoon.blogspot.com/2013/01/winterizing-your-bassoon-and-reeds.html#:~:text=I%20try%20to%20keep%20the,keeps%20mold%20from%20building%20up.

• Introduction and Early Music
• Nineteenth Century
• Twentieth Century & Modern Usage
• Other Bass/Baritone Low Reeds
• Conclusion
• End Notes

Introduction and Early Music

The final chapter of this series will explore the bass oboe. Chapter 1 covered the oboe d'amore, and chapter 2 covered the english horn.

The bass oboe as we know it today is pitched in C, one octave below the soprano oboe (see figure 1, right).This instrument is also sometimes referred to as the baritone oboe because its range resembles that of a baritone singer. The bass oboe has the most sporadic usage throughout history of the lower oboe family instruments. 

Similarly to its smaller siblings, the bass oboe was developed gradually from the bass shawm during the late seventeenth century. In the video below, music historian David Munrow demonstrates the bass shawm. Notice how the sound is very similar to that of a baroque bassoon.

There are very few bass oboes that have survived from the 18th century (there are records of instruments held in various museums in Europe, but no photos were available at the time of writing). These early instruments were not often called for by composers since the bassoon could be used to fill the same role. There is no surviving music from this time period that specifically mentions the bass oboe, although it may have been used in wind chamber ensembles. (1) The instrument disappeared from use during the classical period.

Nineteenth Century

Another attempt at creating a usable bass oboe was made by Parisian instrument maker, Guillaume Triébert in 1825. This instrument had added keys (analogous to oboe keywork at the time) and a bulb bell. The bottom of the bore was also folded upwards, presumably to help bring the toneholes more easily in reach for the player. Triebert’s bass oboe was designed for Gustave Vogt, oboe professor at the Paris Conservatory at that time. His instrument is held in the French National Collection (Cité de la Musique) in Paris (see figure 2, left). (2)

Another French instrument maker, Henri Brod (whose claim to fame was building the first straight English horn), was also making bass oboes during the first half of the nineteenth century. He introduced his model in 1839, winning an award from the Exposition des Produits de l’Industrie Française (Exhibits of Products of French Industry) shortly before his untimely death that same year. His innovations to the instrument were eventually adopted by German instrument makers in the development of the Heckelphone (more about this below). (3)

In 1878, the Triébert firm was taken over by François Lorée (figure 3, right), who resumed manufacturing bass oboes- with a straight bore and a bulb bell like an English horn, and eventually the full conservatoire key system. These improvements helped the instrument slowly gain some traction in orchestral repertoire. (4)

Twentieth Century and Modern Usage

Although the bass oboe is not used as frequently as its smaller siblings, there are a handful of orchestral pieces, chamber works, and solos featuring the instrument from the 20th and 21st centuries.

Gustav Holst wrote a prominent solo for bass oboe in Saturn, Bringer of Old Age, the fifth movement from his 1914 orchestral suite, The Planets, op. 32. (the solo starts at 1:30)

The longest solo for bass oboe in the orchestral repertoire is found in Percy Grainger’s “The Warriors” (1916)

One of the only known concertos for the instrument at the time of writing is the Concerto for Bass Oboe, by Canadian composer Christopher Tyler Nickel (2016).

Other Bass/Baritone Double Reeds

The Heckelphone

Widespread use of the bass oboe was somewhat hindered by the invention of the heckelphone in 1904. Although the instruments appear to be similar, (and do cover a similar range), the heckelphone has a wider bore and larger toneholes, which gives it a distinctly different tone quality than the bass oboe. Despite these differences, the two instruments have often been conflated, or even used interchangeably. Figure three (right) shows a comparison of the two instruments. The bass oboe and Heckelphone can be heard together in the video below, "The Death of Myrddin" by Bret Newton (2019).

The Lupophone

The Lupophone is another extremely rare instrument, developed by Guntram Wolf in Germany around the turn of the 20th century. The lupophone’s range descends to an F2 (at the bottom of bass clef), while the bass oboe and heckelphone’s lowest notes are a B2 and A2, respectively. As noted in the following video, this lower extension is useful for covering the full written range of the heckelphone part in Richard Strauss’ Alpine Symphony, which dips down to a written G3 (sounding G2).

Conclusion

We’d like to close off this series with what is perhaps the most whimsical usage of the bass oboe: a cover of Meghan Tainer’s All About That Bass, entitled All About That Bass Oboe, recorded in 2015 by oboist Phil Popham.

We at Hodge products certainly are “all about that bass oboe,” and after reading this post, we hope you are too! If you do ever have the opportunity to play one of these incredible instruments, rest assured that we’ve got everything you need- from various bass oboe products to heckelphone reeds.

Questions? Contact us through our website. We’re happy to help!

End Notes

1. Munrow, David. “The Reed Instruments,” from Early Musical Instruments (UKTV, 1976). Posted to Youtube on September 6. 2022. https://www.youtube.com/watch?v=cLVPhg978V4&list=RDcLVPhg978V4&start_radio=1
2. inkelman, Michael. “Oboe, III. Larger and Smaller European Oboes, 5. Bass Oboe and larger forms, (i.) Bass oboe” Grove Music Online. 2001.
3. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The Bass Oboe.” unpublished manuscript, 2022, typescript, 2.
4. Henri Brod (1739-1838). The Balthazar Ensemble. Accessed August 28th 2025. http://www.balthazarensemble.com/Do/composer/5/View.html
5. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The Bass Oboe.” unpublished manuscript, 2022, typescript, 2.
6. Holst, Gustav. The Planets, movement five: Saturn, the Bringer of Old Age. Performed by The BBC Symphony Orchestra, July 27, 2015. Youtube. https://www.youtube.com/watch?v=OYPg8H5LtCI
7. Grainger, Percy. The Warriors. Performed by the Melbourne Symphony Orchestra, 1990. Youtube. https://www.youtube.com/watch?v=jwu8WS5MAvA&t=321s
8. Newton, Brett. The Death of Myrrdin. Performed by Mikey Sluman, Bass Oboe; John McDougall, Heckelphone; David Baker, Bassoon. October 13th, 2019. Youtube. https://www.youtube.com/watch?v=2EUUCpBlmGc
9. “Lupophone, The World’s Largest Oboe.” Posted by Score Circuit. January 4th, 2025. Youtube. https://www.youtube.com/watch?v=ihat57pZqP4&t=56s
10. Popham, Phil. All About That Bass Oboe. Recorded June 2, 2015. Youtube. https://www.youtube.com/watch?v=FQvIU9sC5aE&list=RDFQvIU9sC5aE&start_radio=1

• Introduction and Baroque Era
• The Classical Period
• Romantic Period
• 20th C and Modern Usage
• Conclusion
• End Notes

Introduction and Baroque Era

This is the second installment in our series about the history of the lower oboe-family instruments. Chapter 1 covered the oboe d’amore. This chapter will focus on the English horn.

The English horn is a tenor-voiced instrument, pitched in F, a perfect fifth below the oboe. In his essay about the lower oboes, musicologist Michael Finkelman explains that the instrument likely originated in what is now southern Poland around 1718 (which at the time was German-speaking and under Prussian political control). These early English horns, made by the Weigel family of Breslau, were built with a curved body and a flared wooden bell. (1)

The earliest surviving written record of the English horn was in a set of cantatas by church composer Tobias Volkmar from 1723. Although the exact date is not known, it was also around this time that the flared wooden bells were replaced with the bulb bells as we know them today. (2) See figure 1, at right. 

There were other types of tenor oboes used in early music, the taille de hautbois, the oboe da caccia, and the vox humana, which are outside the scope of this post. They were each eventually supplanted by the English horn.

Why is it called an English horn if it was invented in a German-speaking place?

The Classical Period

The English horn began to gain popularity in the second half of the 18th century, particularly in Vienna and Italy. Opera and symphonic composers alike chose the instrument for its unique tone quality.

For example, Christoph Willibald Gluck also used English horns in several operas, one example being the 1762 version of Orfeo ed Euridice. The recording below is sung by Derek Lee Ragin and the English Baroque Soloists. (4)

Joseph Haydn also called for a pair of English horns in his 1764 Symphony no 22, Hob I-22, The Philosopher, performed here by the Orchestra UniMi. (5)

The English horn was popularized in Venice (and later elsewhere in Italy) in large part by Italian oboe virtuoso Giuseppe Ferlendis (1755-1802). In addition to touring in Italy and Germany as an English horn soloist, he also wrote two concertos for English horns, which were published after his death. (6) The recording below is the first movement of the Concerto in F Major, performed by Marino Bedetti and the Giuseppe Ferlendis Orchestra. (7)

Another important usage of the English horn during this period was Harmoniemusik- wind chamber ensembles ranging from three to twelve players. These works were mostly written for the court ensembles of various noblemen. Notably, Prince Joseph Adam Johann Nepomuk Schwarzenberg of Bohemia, (figure 2) one of Vienna’s wealthiest residents, employed several oboists- Ignaz Teimer and his three sons. Much of the English horn repertoire (both solo and chamber) from the 1780’s and the following three decades was written for the youngest Teimer brother, Philipp Matthias Teimer (1761-1817). (8)

It was also Philipp and his two brothers for whom Ludwig van Beethoven’s
Trio in C Major, op. 87, was written in 1795. (9) The piece is performed below by Marilyn Zupnik, Kathryn Greenbank, and Elizabeth Starr Masoudnia. (10)

Instrument Technology: A Whole New Angle

Up to the 1770’s, the English horn was built with a curved body. (figure 3) In an attempt to bring the lower joint closer to the player, an angled version of the instrument was introduced in 1775. These were made principally by Stefan Koch in Vienna, featuring an angled “elbow connecting the upper and lower joints. This new model may have been easier to handle than the older curved instruments, but was probably still not particularly convenient- they were only in use until 1835. (11)

The Romantic Period

The English horn finally came into its own during the Romantic period. The instrument gained widespread use in Paris and elsewhere in Europe. Many beloved pieces involving the English horn were written during this time.

Similarly to other woodwinds, the keywork of the English horn changed rapidly during the nineteenth century. In the first three decades of the century, there were several types available. The Viennese angled model (pictured above) was produced concurrently with a gently curved instrument made by the Triebert firm in Paris- both available with up to twelve keys. (12) Examples of each of these instruments are held in the Musical Instrument Museum of Brussels.

Perhaps the most influential change to the English horn was made by French maker Henri Brod in 1835. His cor anglais moderne was the first straight-bodied English horn with a curved bocal. (figure 4) This instrument had a more resonant sound and was significantly easier to play than its predecessors. Brod’s design was subsequently used by Loreé as what would become the blueprint for modern English horns. (13) The full conservatoire system was added to the English horn in 1906.

The momentum that the English horn had gained in the eighteenth century continued to grow into the nineteenth century.  In his 1858 orchestration treatise, composer Hector Berlioz describes the English horn:

Berlioz’s statement certainly holds true in Italian and French operas, where numerous solos showcase the English horn’s expressive qualities. The instrument was also used increasingly in symphonic repertoire by composers throughout Europe. The following is a small number of selections from the nineteenth century repertoire which include significant English horn excerpts. Please refer to this Youtube playlist for recordings of each selection.  

Opera Examples:

• Vincenzo Bellini, Il Pirata: act 2, no. 25 (1827)
• Gaetano Donizetti, Maria di Rohan: no. 13, Havvi un dio (1843)
  • (Donizetti also wrote a lovely concertino for English horn and orchestra!
• Giuseppe Verdi, Ballo in Maschera: act 2 "Ma dall'arido stelo" (1859)
• Hector Berlioz, La Damnation de Faust, op. 24 (1846)
• Gioachino Rossini, William Tell Overture (published in Paris in 1829), solo starts at 06:15

Symphonic Repertoire:

• Hector Berlioz, Symphonie Fantastique: mvt 2, Un Bal (1830)
• Antonin Dvorak, Symphony No. 9, The New World: mvt 2, Largo (1893)
• Jean Sibelius, The Swan of Tuonela (1895)
• Richard Straus, Ein Heldenleben (1898)

Interestingly, the English horn fell out of favor in German- speaking areas of Europe during the Romantic Era. Many composers favored the basset horn (a type of low clarinet) over the English horn- Mozart may have been to blame for this.

Thankfully, Richard Wagner changed the course of the English horn’s history when he incorporated it in his 1845 opera, Tannhäuser. Although it did not lead to immediate acceptance of the instrument by German and Austrian composers, Wagner’s advocacy for the English horn did significantly increase its usage in opera and eventually symphonic repertoire as well. (15) The example below is from Act 1, scene three.

Twentieth Century & Modern Usage

As we have seen, the English horn became a favorite of many composers for lyrical solos in opera and symphonic works. Many twentieth and twenty first century composers have embraced the English horn as a solo instrument.

One significant work featuring the English horn from the early 20th century is William Grant Still’s Symphony no. 1, “Afro-American Symphony” (1924)

An extensive list of 20th and 21st century solo and chamber repertoire for English horn, made available by Carolyn Hove, showcases the versatility of the instrument.

These days there are so many wonderful chamber and solo pieces for English horn that it would be impossible to highlight them all. The author has chosen to feature one particularly unusual piece, Christopher Berg’s, “Why Else Do You Have An English Horn?” for English Horn and Actor, performed here by Natalie Lorch, English horn, and Nancee Moes, Actress.

Conclusion

From its humble beginnings in the early 18th century, the English horn has evolved into the charming and expressive instrument that we know and love today. Here at Hodge Products, we strive to provide top of the line products for the discerning English horn enthusiast at all levels. Check out our website for the current list of reeds, cane, staples, reed cases, tools, and more!

Questions? Contact us through our website. We’re happy to help!

End Notes

1. Finkelman, Michael. “Oboe, III. Larger and Smaller European Oboes, 4. Tenor Oboes, (iv.) English Horn” Grove Music Online. 2001.
2. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 1.
3. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 1.
4. Gluck, Christoph Willibald. Orfeo Ed Euridice, Act 1, 1762. Derek Lee Ragin and the English Baroque Soloists. July 26, 2018, Youtube. https://www.youtube.com/watch?v=R1NS6zGnUbM&list=PLk-IgAEKYl2wkXAs6Le5zzF-VD9vniMAg&index=6
5. Haydn, Franz Joseph. Symphony no. 22, “The Philosopher”, H.I. 22. Performed by Orchestra UniMi. December 3rd, 2014, YouTube. https://www.youtube.com/watch?v=S1KmoKfp6Ow&list=RDS1KmoKfp6Ow&start_radio=1
6. “Giuseppe Ferlendis Biography,” Giuseppe Ferlendis Concorso Internazionale per Oboe, Associazione Musicale Ferlendis. Accessed August 19th, 2025. https://www.oboeferlendis.it/en/giuseppe-ferlendis.html
7. Ferlendis, Giuseppe. Concerto for English horn in F Major: I, Allegro. Performed by Marino Bedetti and the Giuseppe Ferlendis Orchestra. February 21, 2015. Youtube. https://www.youtube.com/watch?v=T8PYK3Cs8dM&list=RDT8PYK3Cs8dM&start_radio=1
8. Proctor, Judy. “The Teimer Oboe Virtuosi and their patrons, the Prince Schwarzenbergs of Bohemia,” The Lonarc Oboe Trio. July, 2019. https://www.lonarcoboetrio.com/the-teimers-and-schwazenbergs
9. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 3.
10. Beethoven, Ludwig van. Trio for two oboes and English horn in C Major, op. 87. Performed by Marilyn Zupnik, Kathryn Greenbank, and Elizabeth Starr Masoudnia. September 30th, 2020. Youtube. https://www.youtube.com/watch?v=B2ZJn6FAnMU&list=RDB2ZJn6FAnMU&start_radio=1
11. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 4.
12. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 6.
13. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 7.
14. Berlioz, Hector. A Treatise Upon Modern Instrumentation and Orchestration. Translated by Mary Cowden Clarke. Novello, Ewer, and Company, NY, 1858. 96.
    Finkelman, Michael. “The Lower Oboes: Genesis and Development, The English Horn.” unpublished manuscript, 2022, typescript, 8.
15. Still, William Grant. Symphony No. 1, “Afro-American Symphony.” Performed by the Tampa Bay Symphony. May 7th 2023, Youtube. https://www.youtube.com/watch?v=W3FVFwCbsJY
16. Berg, Christopher. “Why Else Do You Have An English Horn?” Performed by Natalie Lorch, English horn, and Nancee Moes, Actress. April 20th, 2013. Youtube. https://www.youtube.com/watch?v=dLQYh-xo6-A

• Introduction and the 18th Century
• Use in the Music of J.S. Bach
• 19th Century Revival
• Modern Usage
• Conclusion
• End Notes

Introduction and the Eighteenth Century

The oboe d’amore is the alto voice of the oboe family, pitched in A. It is larger than the oboe, and typically has a bulb-shaped bell and slightly curved bocal, similar to that of the English horn. Oboe d’amore, translated from Italian, means “oboe of love,” so called because of its soft and sweet tone quality. (1)

By the early 18th century, oboe family instruments had spread throughout Europe, with the oboe d’amore taking strong root in south-central Germany. The most famous maker of these instruments was Johann Heinrich Eichentopf of Leipzig (1678-1769), with the earliest surviving instrument dated around 1717. Similarly to the oboe at this time, the oboe d'amore only had two or three keys, depending on the maker. (2)

Usage in the Music of J.S. Bach

As it would happen, Leipzig was also home to the oboe d’amore- adoring Johann Sebastian Bach from 1723 until his death in 1750. He wrote extensively for the instrument (or more often, a pair) in his orchestral and choral works. (3)

One particularly beautiful obligato part for two oboes d’amore is in the Et in Spiritum Sanctum movement of the Mass in B Minor. The video below features a trio of baroque double reeds accompanying a bass voice soloist, starting at 1:12:57. (4)

Another example of Bach’s use of the oboe d’amore is the Concerto in A Major, BWV 1055, performed here on a modern instrument by Peggy Pearson and the Winsor Music Ensemble. (5)

Nineteenth Century Revival

Despite its high baroque heyday, the oboe d’amore began to fall out of popularity and had mostly disappeared by 1800. The instrument was basically unheard of in the 19th century until a resurgence of J.S. Bach’s music and new interest in historical performance spurred on its revival.

This resurgence was led, in part, by musicologist and conductor François-Auguste Gevaert (figure 3, right), who became head of the Royal Conservatory in Brussels in 1871. As an early music scholar, he had previously created new editions of several of Bach's works using only the instruments he had available. This became problematic because the oboe d’amore parts had to be split between oboe and English horn in order to comfortably cover the full range from written B 3 to G-flat 6. (6)

Gavaert was intent on performing Bach’s music as it was originally scored, so he enlisted Belgian instrument maker, Victor-Charles Mahillon (figure 4, right), to produce oboes d’amore with “modernized” keywork. Mahillon's oboe d'amore, first completed around 1874, was based on the 10-key Triebert system which was standard in France at that time. This instrument would become the prototype for the modern oboe d’amore. (7) One of these instruments is still held in the colletion at the Brussels Musical Instrument Museum!

Mahillon debuted his oboe d’amore (Figure 5, below) at the 1878 Paris World Fair, which helped the instrument gain popularity across Europe and the United States. Other instrument companies continued to refine the keywork and tonehole design in the following decades. Notably, Loreé adapted the full conservatoire system for the oboe d’amore in 1906. (8)

Modern Usage

Although primarily used for historical performances of Bach’s music, the oboe d’amore did find its way into 20th century orchestral repertoire. There is also a growing repertoire of originally composed chamber and solo repertoire featuring the instrument- below are just a few examples.

Richard Strauss, Symphonia Domestica, 1903 (solo starts around 04:16)

Claude Debussy, Images for Orchestra, movement 1: Gigues, 1909-12 (solo starts at 0:43)

Conclusion

The oboe d’abore, with its beguiling tone quality, has captured the ears and hearts of many a performer and concert-goer over the last three centuries. Whether you’re an early music enthusiast, or just looking to try something new, we’ve got all the reeds, cane, and tools you need to become an oboe d’amore aficionado.

Questions? Contact us through our website- we're happy to help!

End Notes

1. Finkelman, Michael. “Oboe, III. Larger and Smaller European Oboes, 3. Mezzo-soprano oboes, (ii.) Oboe D’amore” Grove Music Online. 2001. https://doi-org.suproxy.idm.oclc.org/10.1093/gmo/9781561592630.article.40450
2. Finkelman, Michael. “The Lower Oboes: Genesis and Development,The Mezzo-Soprano Oboes.” unpublished manuscript, 2022, typescript, 4
3. Finkelman, Michael. “The Lower Oboes: Genesis and Development,The Mezzo-Soprano Oboes.” unpublished manuscript, 2022, typescript, 5.
4. Bach, Johann Sebastian. “Et in Spiritum Sanctum” in Mass in B Minor, BWV 232. Performed by The Netherlands Bach Society. January 22, 2019. Youtube, 1:12:57. https://www.youtube.com/watch?v=3FLbiDrn8IE
5. Bach, Johann Sebastian. Concerto for Oboe D’amore in A Major BVW 1055. Performed by Peggy Pearson and Winsor Music. March 1st, 2025. Youtube, 14:36. https://www.youtube.com/watch?v=rbRko145G4k
6. Verdegem, Stefaan. “Fétis, Gevaert, Mahillon and the Oboe d'Amore.” The Galpin Society Journal, Vol. 68 (March 2015) 82-3. https://www.jstor.org/stable/44083257. 
7. Verdegem, Stefaan. “Fétis, Gevaert, Mahillon and the Oboe d'Amore.” The Galpin Society Journal, Vol. 68 (March 2015) 93 https://www.jstor.org/stable/44083257.
8. Finkelman, Michael. “The Lower Oboes: Genesis and Development, The Mezzo-Soprano Oboes.” unpublished manuscript, 2022, typescript, 5.
9. Strauss, Richard. Symphonia Domestica op. 53, Performed by the Oslo Philharmonic. May 6th, 2021. Youtube, 43:31. https://www.youtube.com/watch?v=Sp7x6nx1j_A
10. Debussy, Claude. Images, mvt 1: Gigues, 1909. Uploaded October 11, 2018. Youtube. 7:28. https://www.youtube.com/watch?v=oYSnalc2rV4
11. K. Mueller, Robert. Her Voice, Duo for Oboe D’amore and Piano, 2019. Performed by Theresa Delaplain, Oboe D'amore and Robert K. Mueller, Piano. June 30th 2019. Youtube. 7:07. https://www.youtube.com/watch?v=CWENswzJg3w

The first instrument to resemble the modern European oboe came into use around the 1670’s. It was developed from an earlier double reed instrument called the shawm, which was built in several sizes and commonly used in chamber music. (1) Figure 1 shows an illustration of a shawm, circa 1636.

By the early 18th century, new musical styles led to higher demands for technical facility, more accurate intonation, and a more refined sound quality. Royal instrument makers for the French court began experimenting with the proportions of the oboe's bore and toneholes, and also added two keys to make technical playing easier. (2) Figure 2 shows a modern reproduction of a baroque oboe.

In his essay, “The Lower Oboes: Genesis and Development,” Michael Finkelman describes the shift from renaissance consorts- instrument families in various sizes which play together- to the new Baroque style where instruments were paired by range rather than type (i.e. violin and oboe in unison). Eventually, wind instruments began to be used more independently, with each member of the oboe family correlating to a specific voice part: soprano (oboe), alto (oboe d’amore), tenor (english horn), and bass (bass oboe).(3)

There were many variants of the oboe family instruments, such as the taille de hautbois, the oboe da caccia, the musette oboe, and the heckelphone, which are outside of the scope of this blog post. Instead, this series will focus on the three lower members of the oboe family which are still in use today. (4) Figure three shows these instruments. 

The first chapter explores the oboe d'amore. Chapters two and three cover the English horn and bass oboe, respectively. Click the buttons below to go on to each chapter.

Did you know that reed knives can be either right or left-handed?

Beveled knives and most double hollow ground knives will specify that they are made for either right or left-handed users- these are ready to go right out of the box! 

However, certain double hollow ground knives, specifically Razor Edge Knives, need to be “handed,” or set up prior to use. This ensures they will scrape correctly depending whether the user is right or left-handed. 

This post is a primer on handing double hollow ground knives. We recommend consulting the Jende Book of Sharpening Double Hollow Ground Reed Knives (as well as a teacher, colleague, or other reedmakers) for more information beyond this article.

• Anatomy of the Knife Blade
• Tools and Materials Needed for Handing a Knife
• The Nickel-Dime Sharpening Method
• Initial Knife Shaping Steps
  • Shaping the relief
  • Forming the front and back faces
  • Forming the burr
• Conclusion and Additional Resources
• Works Cited

1. Face: The sides of the blade. The front face is positioned towards the reed, while the back face is positioned towards the user
2. Relief: An area on the back face of the blade, just above the edge, which contributes to the ease (or difficulty) of sharpening and scraping.
3. The Edge: The sharp end of the blade, used to scrape

Additionally, double hollow ground knives have a burr at the very end of the edge, which allows the knife to scrape horizontally across the surface of a reed. The burr is so tiny that it is easier to feel than see. Figure 2 shows an enlarged view of a knife edge with the burr circled in red. The relief, edge, and burr will all be added to the knife through the shaping process.

Tools and Materials

The tools and materials needed to set up your new reed knife are:

• Course grit sharpening stones- Grits: #120, #220, #320, or #500
• A nickel and a dime (or two other coins of slightly different height), for setting the angle of the knife on the stone
• Your new knife

The Nickel-Dime Sharpening Method

In his book, The Jende Book of Sharpening, Tom Blodgett recommends the nickel-dime sharpening method to consistently create the correct angles of the knife to the stone when sharpening. He notes that it is not necessary to limit this to US currency, as long as a lower angle (thinner coin) and a higher angle (thicker coin) can be achieved. (Blodgett, 8)

To find the correct starting position using the coins, place the desired coin on the sharpening stone. Place the knife in front or behind the coin on the stone, then raise the spine of the knife onto the lip of the coin. Maintain this angle as you pass the knife over the stone. The coin should stay stationary. It may be helpful to reset to the starting position after each pass. (Blodgett, 16)
Figure 3, taken from the Jende sharpening book, shows a nickel (right) and a dime (left) being used to set the correct knife angle.

Initial Knife Shaping Steps

Start each step of this process by holding the knife in the hand that you intend to use while scraping a reed. If you scrape right-handed, hold the knife in your right hand. If you are left-handed, hold the knife in your left hand. Note that this may be the same or different as the hand you use for writing and other such activities. Figure 4 shows an example of holding the knife blade facing away from the user in both the right and left hand.

1. Shaping the Relief

The purpose of forming the relief is to thin out the blade, allowing for the thinnest possible edge angle. This makes scraping and subsequent sharpenings easier, and prolongs the life of the knife.

To set up the relief, place the knife on the sharpening stone with the blade facing away from you (the back face should be touching the stone). Lift the spine to the height of a dime to find the correct angle of the knife to the stone (see figure 5). While maintaining that angle, slowly move the knife towards the other side of the stone. Continue until you can feel a burr start to form. (Blodgett, 22)

Tip: Use an edge tester or your ring finger to feel for a saw-tooth like ridge on the front face of the blade.

2. Forming the Back Edge

The angle of the back edge is formed by lifting the spine off the stone the height of a nickel. This more obtuse angle adds strength and support to help the knife hold its edge longer. (Blodgett, 22)
Again, place the back face of the knife on the sharpening stone with the blade facing away from your body. Lift the spine to the height of a nickel (see figure 6). Sharpen as in step 1 until a burr forms on the top side of the blade.

3. Forming the Front Edge

The front edge is created by raising the knife off the stone the height of a dime. This angle offsets the angle of the back face, allowing the knife to scrape evenly across the surface of a reed. (Blodgett, 22) Figure 7 shows how the nickel and dime angles are combined to create various edge shapes.

Place the knife on the stone with the blade facing towards your body. Figure 8 shows right and left-handed starting positions (note that the middle and left images below are both acceptable for right-handed users). The front face should be touching the stone.  Lift the spine the height of a dime. Sharpen as in steps one and two until a burr forms on the top side of the blade.

4. Setting the Burr

Although a burr should have begun to form in steps one through three, now we need to remove excess burr from the back face (leaving the burr facing towards the front face). This positions the burr on the correct side of the blade. (Blodgett, 23)

Place the knife on the stone facing away from your body, as in steps one and two. Lift the knife off the stone to the height of a nickel. Make a single forward pass across the stone. Be sure that the entire edge comes into contact with the stone, especially the tip.

Conclusion and Additional Resources

Congratulations! After performing the four steps above, your knife will be correctly set up for either right or left-handed use. The process above can be repeated with medium and fine grit stones to maintain a sharp edge.

For a left-handed tutorial, see the video below:

Questions? Give us a call or contact us through our website. We’re happy to help you!

Works Cited

Blodgett, B. Thomas. Edge Geometry. In The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008, 8.

Blodgett, B. Thomas. Edge Geometry. In The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008, 9, fig. 3B-D.

Blodgett, B. Thomas. Edge Geometry. In The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008, 16.

Blodgett, B. Thomas. Starting Position for Dime and Nickel Angles. In The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008, 17, fig. 6H and 6J.

Blodgett, B. Thomas. The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008. 22-23.

As someone who's been following Légère’s progress on this project, I was eager to put them through a proper test. Our inventory manager, Evan Tegley, DMA, also tested the new Légère reeds and had a very similar experience to mine.

What I Tested

I opened a selection to try: five medium soft reeds, five medium reeds, and one medium hard reed. After playing through one of each strength initially, I decided our shop would only stock the medium soft and medium varieties. The medium hard reeds simply required too much air and embouchure control, making them less appealing for most players looking for a synthetic alternative.

I also tested five medium and five medium hard English horn reeds

The Medium Soft Reeds

The medium soft reeds produced a notably dark tone that remained consistent across all five reeds I tried. This consistency is something you rarely get with cane reeds, even from the same batch. Articulation was clean and easy, and all maintained their medium-soft resistance as expected.

The tip openings tend toward the closed side without being restrictive. The notable issue here was intonation—these reeds consistently played flat to varying degrees with occasional instability on certain notes, particularly C5. This might behave differently on other oboe brands, but it's worth noting. I'm currently playing a Marigaux after switching from my Lorée.

The Medium Reeds

These reeds offer a fuller tone that can edge toward strident at times, though it is manageable. Like the medium soft reeds, articulation was reliable and the resistance stayed consistently medium across all samples. The tip openings were appropriately medium as well.

Like the MS reeds, the medium reeds were also fairly consistently flat to varying degrees. On the positive side, they didn't exhibit the saggy notes I noticed with the medium soft reeds.

The only reed that was perfectly in tune, was the sample reed that was tried by dozens of people at the IDRS conference. It may be that with some playing the pitch comes up, but I haven’t played on the new reeds enough to know. I will update this review after using the reeds over time.

The English Horn Reeds

The English horn reeds have a nice, warm tone. However, they had some upper register issues when tested on my Howarth and on Evan Tegley’s Marigaux. They tended to be flat and the upper register seemed unfocused.

Requiring more breathe support, the medium hard reeds otherwise mirrored the medium.

Of note, they were loose enough on the Ross bocal that it leaked. It just felt loose on the Hiniker bocals, but they did not leak. They fit perfectly on the Dallas, Marigaux, and Symer bocals.

My Take

These are solid synthetic reeds that serve their intended purpose well. The tone quality, articulation and hardness were incredibly consistent. I plan to use one regularly for practice sessions. The main advantage is predictability—you know what you're getting every time, which is valuable for any oboist who's dealt with the frustration of inconsistent cane reeds.

For oboists who find reed making challenging or simply don't have time to maintain a steady supply of good cane reeds this makes an excellent alternative for practicing. If the pitch comes up after a longer amount of playing, the Légère American series offers a viable alternative that's suitable for performance use as well.

When you are looking at purchasing a new reed knife, the options can be dizzying. At Hodge Products alone, we have nearly 60 different knives. These knives vary in the shape of the blade, quality of steel, balance, and ergonomics. What (almost) all reed knives have in common is a straight blade of high-quality steel that can hold a sharp edge.

This post will take you through everything you should consider before purchasing a new reed knife including:

• Student vs Professional Knives
• Types of reed knives and reed knife alternatives
• Anatomy of a reed knife
  • Steel quality and hardness
  • Knife handle materials
• Balance
• Right vs left-handed setup and sharpening basics
• Our Recommendations
• Works Cited

Whether you’re a seasoned pro looking for an upgrade or a student shopping for your first reed knife, we’ve got you covered! Keep reading to learn all the details or jump to the bottom for a side-by-side comparison of our most popular knives.

Student Vs Professional Reed Knives- What’s the Difference?

The main factors which separate student reed knives from professional knives are the type of steel used for the blade and the price point. Anyone can use any knife- it depends on your budget and personal preferences- although certain knife styles do require some extra finesse to get successful results.
Student knives, such as those we outlined in our post, Oboe and Bassoon Reed Knives: What First Time Buyers Need to Know, are typically made of softer steel, which makes them easier to sharpen and use with minimal setup. Our knives in this category are all under $65.
The professional knives that we carry are priced at $65 and above. The knives in this category are made from harder steel, which can hold a sharp edge longer, but are also more difficult to sharpen. The details of knife material choice will be discussed below.

What Are The Types of Reed Knives?

Understanding the primary styles of reed knives, how they work and what each is used for can narrow your search tremendously. The two primary types of reed knives that we carry are Beveled and Double Hollow Ground. There are also several hybrid knife styles, which we have grouped with the most closely related primary style for ease of comparison. Figure 1 shows profile views of the different types of knives.

Alternative Knives

Ceramic Knives 

Ceramic knives have become popular in the culinary profession because they maintain a sharp edge for much longer than a traditional steel knife. However, due to the nature of the material, ceramic blades have trouble holding a burr, making them better suited for cutting than scraping. This makes them a great option for cutting the tip off the reed or for shaping. The Reeds ‘n Stuff Ceramic Knife is similar to a double hollow ground shape.
Note: Ceramic knives must be sharpened on a diamond stone.

ReedGeek

If you are a frequent traveler on airplanes or spend a lot of time in public schools where knives are not allowed, try the ReedGeek. These unconventional scraping tools work well for finishing and adjusting the reed, no sharpening required!
Although it probably can’t replace your primary reed knife, the ReedGeek is great for making quick adjustments in a pinch or in situations where a reed knife is not allowed. It can be used on both single and double reeds (great for doublers!), and since it does not have a blade, it is safe for younger students to try adjusting their own reeds as well. 

Additionally, the ReedGeek “The Bullet” is designed specifically for scraping synthetic reeds such as the Legere reeds. This tool works far better than a traditional reed knife for synthetic reeds.
See our detailed review of the ReedGeek tools.

Anatomy of a Reed Knife

The two main sections of a reed knife are the blade and the handle. Figure 2 below describes the more detailed terminology used for each area of a knife. From top to bottom these are:

1. Tip: The end of the blade
2. Edge: The cutting part of the knife. The edge is the part that gets sharpened and then bent to form the burr.
3. Blade: The metal part of the knife that holds the edge
4. Spine: The back edge of the blade opposite the cutting edge
5. Tang: The metal extending from the blade into the handle. In a knife with a half tang, the tang goes halfway down the handle. 
6. Ferrule: A metal cap which connects the handle and the blade (not present on all knives).
7. Handle: The portion of the knife designed for the reed maker to hold
8. Butt: The end of the handle opposite the blade 

The anatomy of the knife blade will also differ depending on the type of knife. All knife blades have a front and back face (the sides positioned towards the reed or towards you, respectively), which converge to form the edge (the sharp part of the knife used for scraping). Figure 3 shows an enlarged view of the blades of two types of reed knives.

 

Just above the edge, as shown on the left image in figure 3, is the relief. The relief is an area on the back face of the blade, which contributes to the ease (or difficulty) of sharpening and scraping. (Blodgett, p. 5)

Steel Quality and Hardness

Reed Knives (with the exception of ceramic knives) are made from different types of steel or steel alloys. The hardness (also called quality) of the steel impacts the price point of the knife, as well as how the knife feels as it scrapes, how easy it is to sharpen, and how long it can hold a sharp edge.

The quality of steel is determined at the molecular level by chemical compounds called carbides, which form when carbon combines with another element. Under a microscope, carbides look like salt crystals- angular particles embedded throughout the steel. According to Corrosionpedia.com, iron carbides (composed of carbon and iron) are what contribute to the strength and hardness of steel. Other minerals may be added to create steel which is resistant to cracking, corrosion, and wear over time. Knifesteelnerds.com gives an in-depth explanation of this process. 

Essentially, harder steels have smaller and more brittle carbides, which help a knife hold its sharp edge longer. Many reed knife manufacturers do not state a hardness. For a point of reference, generally German steels are on the softer end and the Japanese steels are on the harder end.

What hardness should I choose?
Keep in mind that even with various hardness levels available, a knife made from softer steel is still quite sharp and durable! We recommend focusing more on how the knife feels to use and what your budget is than the hardness label. Most of our knives that are made from harder steels are priced at $65 and up (with the exception of Landwell knives, which offer a choice of hard, medium, or soft). Most of the knives priced under $65 are made from softer steels. Table three below compares characteristics of hard and soft steels.

Still can’t decide? Medium hardness blades are a good compromise between the hard and soft steels, and are by far the most popular hardness option that we offer.

Handle Materials

Reed knife handles are made of either wood or plastic. Some brands offer a choice of wood for the handle,such as ebony, pearwood, rosewood, or olivewood. Designed to be ergonomic, knife handles are also tapered to either a round or square end. Figure 5 shows a rounded handle on the left and a square handle on the right.

Balance

A knife’s balance point refers to the placement of its center of gravity. Most people naturally grip their knife at or near the knife’s center of gravity. The farther away from the blade that the knife’s center of gravity is placed, the easier a knife is to control when scraping.
The knife style, handle material, length of the blade, and length of the tang all impact the placement of the knife’s center of gravity. Full tang knives tend to have a center of gravity farther down the handle than half tang knives. Because of the heftier blades, beveled knives tend to have a center of gravity closer to the base of the blade. The balance point will differ between brands. What matters most is that the knife feels comfortable to hold and use without excess pressure on the hand or wrist.

Right vs Left-Handed Setup

When choosing a new reed knife, be careful to select the correct right or left- handed option. Some knives come set up to be used by either right or left-handed people. For beveled knives this means that the bevel is on the right or left side of the blade. For double hollow ground knives, the burr has to be set in the correct direction. If a knife does not specify that it is right or left handed, it will need to be correctly sharpened before it can be used.
Check out our post on handing a knife (coming soon) for more details.

Sharpening

Properly sharpening a reed knife is crucial to making successful reeds, ensuring the longevity of the life of the knife, and keeping the user safe. A sharp knife should remove cane easily without the need for excessive force or tension. A dull knife will feel like it is not scraping efficiently and is also more prone to slip on the cane, possibly causing injury to the user. We recommend the Jende Knife Sharpening Book as an excellent resource for any reedmaker.

Our Recommendations

Top Sellers

This list is a side-by-side comparison of the top three most popular knives in each category, plus our overall most popular knife.

Beveled:

Rigotti Beveled Knife- $39.95

• Great quality for the price
• Ebony or pearwood handle
• Knife sheath included

Chang Beveled Knife- $110.95

• Easy to sharpen, holds and edge
• Smooth, precise scrape
• Durable leather sheath included

Jende Single Beveled Knife- $129.95

• Stainless steel ensures longer edge retention
• Designed to withstand the entire reedmaking process, from bark removal to finishing
• Tapered Madagascar Ebony handle

Double Hollow Ground:

Landwell- $112.95

• Three steel strengths available
• Ease of sharpening and edge retention depends on steel hardness choice
• Knife sheath included

Chang- $99.95

• Designed for balance and comfort
• Easy to sharpen, designed to last over many sharpenings
• Durable leather sheath included

Jende Original- $99.95

• Made from strong yet durable Japanese steel
• Lightweight without sacrificing scraping control
• Sharpens easily while still holding an edge

Most Popular Overall:

Chiarugi Razor Knife- $48.95

• Tempered and grounded steel blade
• Five handle options, including ebony, olive, pearwood, rosewood, and walnut
• Knife sheath included

Conclusion

Ultimately it is up to the individual to determine what knife works best for them. After using this post as a starting point, it may be helpful to consult a teacher, friend, or colleague. 

If you are a professional who is thinking of changing styles or adding a knife to your tool kit, make a list of what you like and do not like about the knife you currently use. Look through our discussion of the pros and cons of each style and pick one that has the potential to solve whatever issue you may be having. Please refer to our reed knife chart to figure out which knife works best for you.

As always, please feel free to contact us. We’re happy to help you!

Works Cited

Blodgett, B. Thomas. The Jende Book of Sharpening. USA: Jende Industries, LLC, 2008.

“Carbide” Corrosionpedia.com, July 19th 2024. https://www.corrosionpedia.com/definition/209/carbide#:.

Thomas, Larrin.“Carbide Types in Knife Steels” KnifeSteelNerds.com. July 15th, 2019. https://knifesteelnerds.com/2019/07/15/carbide-types-in-knife-steels/#:.

“What is a burr?” scienceofsharp.com, January 11th 2025. https://scienceofsharp.com/2015/01/11/what-is-a-burr/.

Oboe and Bassoon Reed Knives:
What First-Time Buyers Need To Know

Buying your first reed knife is an exciting milestone in every bassoon or oboe player’s journey. However, the numerous options on the market today can be overwhelming. At Hodge Products alone, we have nearly 60 different knives! A recommendation from a teacher is usually a great place to start. 

Still wondering what reed knife to buy? This post will walk you through everything you should consider before purchasing your first reed knife, including: 

• Student vs Professional grade knives
• Types of reed knives and their uses
• Recommended Reed Knives for Beginners
  • Double Hollow Ground
  • Beveled
• Right vs left-handed setup
• Works Cited

Read on for a full breakdown, or skip to the chart at the bottom of this post for a comparison of all of the knives we carry. 

Student vs Professional Reed Knives - What’s The Difference?

Although the exact specifications vary from brand to brand, there are two main characteristics that we look for when recommending reed knives to new reed makers. First, is the ease of use. Student grade reed knives are made to be easy to sharpen and easy to use with minimal setup. Second, is the price point. All of the knives recommended in this post are under $65. 

Professional reed knives are typically made of higher quality steel that can hold a sharper edge for longer, contributing to the higher price point. See our Guide to Choosing a Reed Knife (coming soon) for a more in-depth comparison.

What Are The Types of Reed Knives?

Reed knives come in two general styles: Double Hollow Ground and Beveled. This refers to the thickness and shape of the knife blade. Double Hollow Ground knives also come in an “extreme” style, which has an especially thin edge. Figure 1 shows these three styles.

Double Hollow Ground Knives

Double hollow ground refers to the concave shape of the knife blade on both faces. The blade tapers to a very fine edge, which makes these knives ideal for precise, controlled scraping. The edge of a double hollow ground knife is microscopically bent to a consistent angle along the blade known as the burr, which helps to “grab” the cane with each scrape. Double hollow ground knives give the most flexibility in the scrape and can be used for all steps in the reed making process. However, some oboists and bassoonists opt to use a double hollow ground knife only for fine detail work. Figure 2 on the left shows a double hollow ground knife.

Although it is a defining feature of double hollow ground knives, the burr is more easily felt on the edge of the knife than seen. As demonstrated on scienceofsharp.com, on a sharp knife the burr is only tens of microns long and several microns thick, but can be viewed using electron microscopy. Figure 3 shows an enlarged cross section of a knife blade, with the burr circled in red.

figure 3.

Extreme Double Hollow Ground knives have a similar shape to their non-extreme cousins, but the concaveness of the faces is much more pronounced, making the edge of the blade noticeably thinner. These knives are best used for fine detail scraping, and are typically not recommended until the user has gained some basic scraping technique. Figure 4 shows an extreme double hollow ground knife blade.

Our Recommendations: Best Double Hollow Ground Knives For Beginners

We carry three double hollow ground knives that are great for beginners. The Chiarugi and Rigotti knives are similar and you should choose based on price or brand loyalty. The Jende is made with a significantly higher quality steel, and is already set for right-handed use.

1. Rigotti Razor Edge Knife

• Tempered and grounded steel blade
• Pearwood handle
• knife sheath included

2. Chiarugi Razor Edge Knife

• Tempered and grounded steel blade
• Five handle options, including ebony, olive, pearwood, rosewood, and walnut
• Knife sheath included

3. Jende Student Knife

• Higher quality steel blade 
• Maple wood handle
• Knife sheath included, additional sheaths available

Beveled Knives

Beveled knives have one flat face and one face that is angled.  Rather than using a burr, beveled knives have a wider taper towards the edge of the blade. The blade is also thicker and heavier than the double hollow ground knife. Figure 5 shows a beveled blade.

figure 5.

While beveled knives can be used for finishing a reed, many oboists and bassoonists prefer the heft and stability of the beveled knife for the rougher work of the earlier stages of scraping.

Our Recommendations: Best Beveled Knives For Beginners

We carry two beveled knives that work well for beginners.

1. Rigotti Beveled Knife

• High quality steel blade
• Ebony or pearwood handle
• Knife sheath included

2. Chiarugi Beveled Knife

• High quality steel blade 
• Pearwood handle
• Knife Sheath included

Right vs Left-Handed Setup

Before purchasing a reed knife, it is crucial to be sure to select the correct right or left-handed option. Although student reed knives come extremely sharp, the blade needs to be correctly set up (handed) before the knife can be used. 

Most people find it easiest to scrape reeds using their dominant hand, so the direction of the burr will be different depending on whether you are right or left-handed. It is important to position the angle of the burr towards your scrape (away from your body) so that the knife will remove cane with minimal pressure being applied to the reed. 

Most of the knives in this post will need to be handed (set up) before use. Exceptions to this are:

• Chiarugi beveled knife- choose right or left-handed at checkout
• Jende Student Knife- pre-sharpened for right-handed reed makers (if you are left-handed, you will need to resharpen to put the burr in the correct direction

For more information about setting up your reed knife before use, please see our Guide To Handing A Reed Knife (coming soon). 

It will also be necessary to purchase a sharpening stone or sharpening rod- but that’s another post for another day. You can find a list of sharpening tools that we carry on our website.

Comparison

The chart below compares the five reed knives discussed above.

Conclusion

Like many things in the life of a bassoonist or oboist, which reed knife to buy is largely dependent on personal preference. What works for one person may or may not work for someone else. For first time knife-buyers, it may be helpful to try your teacher or friend’s knives to see what you like before purchasing. If you want to learn more about professional reed knives, please see our Guide to Choosing A Reed Knife.

Still have questions? Contact us- we’ll be happy to help you! 

Works Cited

“What is a burr?” scienceofsharp.com, January 11th 2025. https://scienceofsharp.com/2015/01/11/what-is-a-burr/

Silverstein has now come out with what they are calling the Ambipoly 2nd Generation American-style synthetic oboe reed!

There are numerous improvements with this reed. The first is that it is on a Chiarugi 2 staple which is much more standard in America. The sound quality has also improved, producing a relatively dark sound with more overtones and warmth to the sound than their first attempt. Additionally, the intonation of the scale is vastly improved. Unfortunately, on my oboe, all the reeds were flat. 

Crow

The crow is right on C6, albeit in the middle of the reed and only while blowing softly. When you go down to where you would normally get a crow by the thread, it squeaks.

Playing

I’m very excited about the possibilities in this reed. It was very responsive with a dark, round tone, just as they advertise on their website. It was easy to articulate and play on like a decent cane reed. Some reeds had a bigger opening than others but all were usable; you don’t want to bite and you don’t need a tough embouchure. With an open embouchure, the reed is very responsive to changes in dynamics and articulation, tone color and range.

Intonation

The overall intonation of the reed was very flat to start with. Individual notes were not 100% in tune with each other but they were a lot closer than the 1st Generation reeds. I was able to bring the pitch up by clipping the reed.

Scrape

It’s responsive with a clearly felt heart, back, and spine. (It is difficult to see it though because the polymer is so clear.) The tip is fairly long and clearly defined at the sides but flows smoothly from the heart to the tip. A second level of thinness is achieved near the end of the tip, making the reed very responsive. The manufacturer leaves the very end of the reed slightly thicker, though, so the player can customize the resistance of the reed. I scraped off this thickness for a smooth scrape to the finish. This freed up the reed to vibrate without what I felt was unwanted resistance. There is a European-style moon shape where the back goes into the heart. I'm not sure why they did this but it felt like the back was too stiff and was affecting the warmth of the sound negatively. I scraped the back like I would an American reed so that it was less stiff and it did add some warmth to the sound.

Shape

The shape is Ambipoly’s proprietary shape that was chosen because it worked the best with the material. A bit wide for an American reed, it makes up for it in the straight sides that only narrow near the bottom.

Staple

The Ambipoly 2nd Generation American Reed comes on a #2 Chiarugi cork staple. This is a very standard staple size for Americans and works pretty well with this reed, although in my instrument, all the reeds were flat to start with. These new generation reeds are not able to be taken off the staple.

Adjusting the Reed

Yes! You can scrape on this with a regular reed knife. It felt harder than cane. I needed to put more pressure behind the blade and not as much came off, but you can definitely scrape this like cane. I felt like it dulled my knife very quickly so I would suggest using the ReedGeek instead.

Ambipoly reeds are designed to be playable out of the box, but do have enough material left to make any adjustments you want. I felt like this reed plays like a medium and could have had more material taken out in the back.

The reed comes with a slightly thicker tip to allow for adjusting. I felt the need to take a little off on the corners mostly. 

Final Verdict

These are a significant improvement to the 1st Generation reeds. While I ended up liking my 1st Generation reed for practicing, after changing the staple, I felt that these reeds have more consistency and potential for being a good reed right out of the box. Unfortunately, as I experimented with scraping on one reed, I clipped more off than I should have and felt like I lost the warmer tone quality. Overall, these 2nd generation Ambipoly American reeds are pretty good and I recommend trying one. 

Oboist, Gregory Ward, once quipped

While we haven’t quite reached those criteria, synthetics have come a very long way.

Only two brands have brought something to the double reed world that can meaningfully compete with cane: Légère and Ambipoly. The plastic reeds that you can buy on Amazon for under $20 are unplayable.

A synthetic material alternative for cane must have similar vibratory characteristics, stiffness, and flexibility to produce the same character, projection, and overtones across all registers. In order to make it worthwhile, a synthetic reed must have substantially more reliability, consistency, and longevity.

Currently, only Légère offers a synthetic bassoon reed. Although, Ambipoly is projected to launch one soon.

Why Make Synthetic Reeds?

Longevity — Cane reeds are labor-intensive to produce, provide 10-15 hours of playability, and change continuously within that lifespan. By comparison, Ambipoly synthetics can be played for around 700 hours, making it the equivalent of approximately 47 cane reeds.

Consistency — Arundo donax, or Giant Cane, is a plant. As such, there are no manufactured tolerances. Every piece varies slightly from any other; straighter, harder, softer, denser, etc. Manufactured reeds remove the inconsistencies inherent in cane, allowing for nearly perfect consistency.

Reliability — Cane is temperamental, and easily influenced by things like weather and elevation. A reed that plays beautifully on a sunny day often becomes unplayable when a storm rolls in, dropping barometric pressure and increasing humidity. In traveling to different elevations and climates, the differences become even more extreme.

One of the most valuable advantages of synthetic over cane is that synthetic reeds should play consistently in any environment. While the synthetic material may be consistent, the air the reed is vibrating will still change at varying elevations, causing negligibly more resistance at higher altitudes.

What are Synthetic Reeds Made Of?

The first synthetic woodwind reeds were created during World War II. Cane shortages led to the production of styrene reeds, which struggled to imitate cane in every way.

David Shaffer and Arnold Brilliant designed the first composite oboe reed in 1966 out of Dacron polyester fibers and epoxy resins. These were marketed through the SELMER Co. as Fibracane until they were discontinued in 2005.

Despite their long production, Alan Leech commented in 1985 that

It wasn’t until the launch of the Légère synthetic oboe reed in 2016, that synthetic reeds would be considered viable by serious musicians.

Légère reeds are made of a proprietary oriented polypropylene cut using a CNC router. This is thinner and stiffer than natural cane, allowing for freer vibration and better overtones over previous versions that more closely mimicked cane. Polypropylene does not absorb water, allowing the reed to be played directly out of the box.

In November 2021, Ambipoly launched its own version of the synthetic oboe reed. The Ambipoly reeds are made of a proprietary food-grade polymer, specifically designed to closely resemble the xylem structure of cane.

The polymer is double injection molded; a stiffer polymer forms the spine of the reed, and a softer polymer forms the rest. Injection molding avoids the stresses of cutting, reducing the tolerances for better consistency. It absorbs water just like traditional cane, allowing it to closely mimic the projection and overtones of a natural cane reed.

Can Synthetic Reeds be Adjusted?

A significant shortcoming of the Légère polymer reeds is their tendency to fray with a regular reed knife. While they can be adjusted using the ReedGeek Bullet without fraying, Légère recommends only trimming the top, not scraping the reed.

Because Ambipoly reeds were designed to act like cane, they can be trimmed and scraped with any reed knife. Ambipoly reeds are designed with the expectation that the user will adjust or finish the reeds themselves, allowing for substantially more freedom in the final reed.

Are There Any American-style Synthetic Oboe Reeds?

Both Légère and Ambipoly launched their synthetic oboe reeds with European cuts. For oboists in North America, it can be challenging to adapt your embouchure and adjust the shorter European cut reed. Aaron Lakota does an excellent job addressing this with this tutorial on Adjusting your Légère Oboe Reed to match an American scrape.

Légère produced a prototype American-cut oboe reed back in 2019, which they displayed at the IDRS conference in Tampa, Florida. We found that it was easy to play, perfectly in tune, and produced a warm sound. Characteristically, all the Légère reeds lack some of the color of a natural cane reed. Unfortunately, manufacturing inconsistencies have prevented this reed from being commercially produced at this time.

In October of 2022, Ambipoly launched the first commercially available synthetic American-style Oboe Reed, the reed was so well anticipated that we were completely sold out within the first two hours of launch. Read a full technical review of the Ambipoly American-style Oboe reed.

Have Synthetic Reeds Surpassed Cane?

That depends on your priorities. Despite thirty years, synthetic reeds haven’t quite met Gregory Ward’s specifications, yet. But, with recent advances, the perfect synthetic reed may be a reality in the very near future.

Give them a try and let us know what you think.

Pros:

• Longevity
• Consistency
• Reliability

Cons:

• Upfront Cost

Légère

• Lacking color
• Hard to adjust
• Only available in European-cut

Ambipoly

• Limited adjustability (compared to natural cane)
• Intonation (due to limited adjustability) — Rails were thinner than I liked

Works Cited

Chapter 3

15 Oboe Staple Brands

Being an oboe specialty shop puts us in the unique position to test, measure, and analyze literally thousands of staples from more than a dozen brands. We have the largest selection of oboe staples in North America, with nearly 100 oboe staple options alone and adding more regularly.

This variety is overwhelming.

How do I navigate the myriad of options and choose the staple that works best for me?

Spend time studying the information provided in Chapter 2 - 10 Characteristics of Oboe Staples to understand how small changes in your staples affect your reeds. Use the charts to determine what staples might make the changes you want. Then look at the detailed information on the staples you are interested in, which is provided in the following blog, or view our product descriptions on each product page. But first a quick overview of what we offer in our shop.

The following is a detailed dive into the characteristics of each staple model along with helpful graphics. In alphabetical order by brand, each staple has a list of characteristics compared to other well-known staples for a starting point.

1. American (Hodge Brand)

• Country – made in America
• Manufacturing Process – made using the old school method of hammer-forging with equipment that dates back to the turn of the 20th century.
• Cork – synthetic and natural cork options
• Wall Thickness – Thick walls that get thinner at the base (.30-34mm decreasing to .17-.23mm)
• Metal Type – brass or nickel-silver
• Metal Finish – various finishes and scoring provide grip for the cane
• Tip Area – similar to Bonazza and Lorée
• Base Area – slightly smaller than RC1 and Chiarugi 2
• Tip Shape – on the flatter side
• Mandrel – no mandrel (other brands recommended below)
• 4 Models

American Student

• Cork – synthetic cork beveled at the end to make it easier to insert it into the reed well, 30-31mm long
• Metal Finish – polished finish
• Markings – spiraled down to the cork for good cane and thread grip
• Tip Area – average, same as Chiarugi 2 and close to Pisoni Deluxe
• Base Area – 17.8mm² (4.76mm diameter), average, close to Chiarugi 2 and Pisoni
• Tip Shape – flatter, same as Bonazza Deluxe and close to Pisoni
• Volume – small-average, similar to Lorée regular
• Taper – similar to Lorée regular
• Mandrel – fits best on a Pisoni mandrel

American Pro

• Cork – synthetic cork with flat bottom, 30-31mm long
• Metal Finish – beautifully polished metal and finished tip
• Markings – spiraled down to the cork for good cane and thread grip
• Tip Area – average, slightly bigger than student version, closer to Lorée regular
• Base Area – 17.87mm² (4.77mm diameter), average, close to Chiarugi 2 and Pisoni
• Tip Shape – flatter, same as Pisoni
• Volume – large-average, same as Bonazza Deluxe
• Taper – average, a little straighter than Lorée AK
• Mandrel – fits best on a Pisoni mandrel

American Stevens-Style

• Cork – natural cork, 30-31mm long
• Metal Finish – sanded finish
• Markings – double hand-scored diagonal lines
• Tip Area – average, close to Lorée regular, less than Stevens #2 staple
• Base Area – 17.95mm² (4.78mm diameter), average, close to Chiarugi 2 and Pisoni, less than Stevens #2 staple
• Tip Shape – flatter-average, same as Pisoni Deluxe and Stevens #2 staple
• Volume – average, similar to a Chiarugi 2+ and Lorée AK
• Taper – average, close to Lorée AK and close to the Stevens #2 but a little smaller and without the inside bevel on the tip
• Mandrel – fits best on a Pisoni mandrel

These staples are the closest to the popular Stevens #2 staples in taper and shape of the tip, but the tip size and base are a little smaller than the Stevens #2 and don’t include an inside bevel on the tip.

American Euro #2

• Cork – natural cork, 31-32mm long
• Metal Finish – polished finish, beveled and polished tip
• Markings – none
• Tip Area – average, close to Lorée regular
• Base Area – 17.72mm² (4.75mm diameter), average, close to Chiarugi 2
• Tip Shape – flat, close to Pisoni
• Volume – average, same as Lorée AK
• Taper – straighter-average, straighter than Lorée AK
• Mandrel – fits on Chiarugi 2, Lorée, and Rigotti mandrels

As its name implies, these staples are very similar to the traditional European Chiarugi #2 / Lorée / Rigotti staples.

2. Bonazza Deluxe

• Country – made in Italy
• Cork – natural cork, 29-30mm long
• Wall Thickness – medium-thin walls stay the same from top to bottom (.23mm)
• Metal Type – only available in silver-plate (a small amount of brass left at our shop)
• Tip Area – almost the same as Glotin staples and close to Guercio AM
• Base Area – 19.06mm² (4.93mm diameter), same as Guercio AM
• Tip Shape – on the flatter side
• Mandrel – no Mandrel (Fits on Rigotti, Le Roseau Chantant 1, and Marigaux 1)

These mandrels are all quite different from each other. It appears that the Bonazza Deluxe staple has an interior section that holds each of these mandrels so that the top of the staple is flush with the tip of the mandrel. While they look like they fit, the fit is not precise. Additionally, the Le Roseau Chantant 2 fits snuggly, but it will round the staple tip a bit.

3. Chiarugi

• Country – made in Italy
• Manufacturing Process – CNC Lathe
• Cork – natural cork from Portugal covering 2/3rds of staple, 30-30.5mm long
• Wall Thickness – medium-thin walls that get thicker at the base (.22-.23mm increasing to .29-.35mm)
• Metal Type – available in brass or some models also available in nickel-silver, #2 available in superstaple designs
• Tip Area – varies by staple model
• Base Area – varies by staple model
• Tip Shape – very nicely shaped oval except the Chiarugi 5 which is flatter because it’s a copy of the flat-tipped Glotin
• Mandrel – mandrels available for each size
• 7 Models

In general, Chiarugi makes all their staples with a single taper angle down the sides of the staple and two angle changes down the front/back of the staple. The top angle shift occurs 8.5mm from the top of the staple. The lower angle shift varies, anywhere between 14mm – 22mm from the bottom.

Chiarugi #1

• Tip Area – small, similar to Lorée DM
• Base Area – 16.39mm² (4.57mm diameter), small, similar to Lorée DM
• Tip Shape – average ellipse, not as round as Lorée DM
• Volume – smallest of all brands
• Taper – average

Chiarugi #2

• Tip Area – average, similar to Lorée regular
• Base Area – 18.11mm² (4.8mm diameter), average, similar to Lorée regular
• Tip Shape – average ellipse, not as round as Lorée regular
• Volume – lower-average, similar to Lorée regular
• Taper – average

This staple is also available in brass in all three superstaple designs, “E” (Excavated), “S” (Solid), and “M” (Solid Midway).

Chiarugi #2+

• Tip Area – larger-average, almost identical to the Lorée AK
• Base Area – 18.72mm² (4.88mm diameter), larger-average, almost identical to the Lorée AK
• Tip Shape – average ellipse, identical to the Lorée AK
• Volume – higher-average, identical to the Lorée AK
• Taper – average

Chiarugi 2+ and Lorée AK are, according to Mark Chudnow, the same as the Chudnow and Sierra staples, all of which are made by Chiarugi. Howarth also claims that the staples with their name on them are Chiarugi 2+. (We don't carry Howarth staples at this time.) The Oboe Shop @ Cgrid-wrap_2thers in the UK recommends the Chiarugi 2+ for both the Howarth and Rigoutat oboes.

Chiarugi #3

• Tip Area – large, larger than the Lorée AK
• Base Area – 18.77mm² (4.89mm diameter), large, almost identical to the Lorée AK
• Tip Shape – average ellipse, identical to the Lorée AK
• Volume – higher-average, identical to the Lorée AK
• Taper – straighter

If you are having issues with flatness in the upper notes of the second octave and you usually use a Chiarugi 2+ or Lorée AK staple, the Chiarugi 3 would be a good substitute since the base diameter is similar to the 2+ but the tip area is increased. See Section 2 (Tip Area) in Chapter 2, 10 Characteristics of Oboe Staples blog post.

Le Roseau Chantant recommends this staple for more closed-bore instruments like the Lorée 125 or Royal AK, Laubin, or Yamaha (41-series, North American models).

Chiarugi #5

• Tip Area –average, between Chiarugi 2 and Lorée regular
• Base Area – 19.11mm² (4.93mm diameter), large, very close to the Bonazza Deluxe
• Tip Shape – flatter ellipse, similar to but not quite as flat as the modern Glotin
• Volume – large, almost the same as the Bonazza Deluxe
• Taper – most angled or conical shape offered at Hodge Products

The Chiarugi 5 is a copy of the Glotin staple though it is not clear which version. The most similar characteristic to the current version is that it has a flatter ellipse than other Chiarugi staples but not quite as flat as the Glotin is now. I must note, however, that the mandrel is a little bit rounder and tends to round out the staple so that the tip is similar to the Chiarugi 6, though the base is still much bigger than a Chiarugi 6.

The Oboe Shop @ Cgrid-wrap_2thers in the UK recommends this staple for the Lorée, Marigaux, and Buffet oboes.

Chiarugi #6

• Tip Area –average, between Chiarugi 2 and Lorée regular
• Base Area – 17.44mm² (4.71mm diameter), smaller-average, much smaller than the Lorée regular
• Tip Shape – average ellipse, similar to Lorée regular and other Chiarugi staples
• Volume – smaller-average, smaller than the Lorée regular
• Taper – straighter, the same as Chiarugi 3

Compared to the Lorée regular staple, the Chiarugi 6 will lower the pitch progressively through the entire upper octave (D₅-C₆) because the base is smaller than the Lorée.

Chiarugi #7

• Tip Area – huge
• Base Area – 20.29mm² (5.08mm diameter), huge
• Tip Shape – rounder side of average ellipse
• Volume – huge
• Taper – average

This is the largest staple we offer at Hodge Products. The Chiarugi 7 was designed for Dutch oboists who make very short reeds with a long scrape. They also use very short staples (42mm) which offsets the large bore. We only recommend this staple to American oboists who use an extremely wide shape such as the RDG 2. First, we suggest trying the 46mm before trying the more extreme 47mm option. Surprisingly, I made a decent reed on a 47mm staple with a Joshua +2 shape (which is relatively nargrid-wrap_2) that played at 440 Hz. The blades needed to be well slipped to work.

4. Eterion

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork from Portugal covering 2/3rds of staple, 30-30.5mm long
• Wall Thickness – thin walls increasing to a much thicker base (.17mm increasing to .33mm)
• Metal Type – available in brass only
• Tip Area – large-average, same as Glotin
• Base Area – 17.20mm² (4.66mm diameter), smaller-average, in between Guercio D12 and Roseau Chantant #2
• Tip Shape – average ellipse, same as Chiarugi 2+
• Volume – same as Reeds 'n Stuff
• Taper – fairly straight, same as Guercio D26
• Mandrel – Eterion mandrel available

The Eterion staple was developed by Oboe-Shop.de, together with famous oboists David Walter, Ramon Ortega and Nick Deutsch.

By reducing the thickness of the brass and by changing the staple's geometry, the Eterion plays more comfortably than conventional staples. The intonation is well balanced and the sound more rounded.

According to Oboe-Shop, the staple is especially suitable for Marigaux and Josef oboes and all oboists who like the Guercio D12, Chiarugi 2 or Glotin staples.

5. Glotin

• Country – made in France
• Manufacturing Process – formed from a flat sheet around a proprietary shape with a silver-brazed seam
• Cork – natural cork, 30.5 - 31mm long
• Wall Thickness – medium-thick walls that get slightly thicker at the base (.25mm increasing to .28mm)
• Metal Type – available in brass or nickel-silver
• Tip Area – large side of average
• Base Area – 18.75mm² (4.89mm diameter), large
• Tip Shape – one of flattest ellipses we have
• Mandrel – mandrel available

They also make a seamless version out of brass only. Typically, a seamless staple is made out of a tube that is then formed to the correct shape. We have recently added some to our stock but it turns out their seamless staple is just a Chiarugi 2 staple.

Glotin has changed their staples over the years and the flatter shape that is available now is not necessarily their consistent goal. The standard deviation in a Glotin staple is fairly high as they are not terribly consistent. You can find beautiful elliptical shapes if you’re able to dig through them or take a chance on what you order.

John Ferrillo, principal oboe of the Boston Symphony Orchestra, spends extra time looking for staples that match his 1960’s Glotin mandrel, describing the staples he’s looking for as,

Due to the flatness of the tip shape, some players have noticed that their F tends to be louder than other notes. See Air Flow in Flatter Staples in Chapter 2 - 10 Characteristics of Oboe Staples.

Glotin also now offers a smaller, flat staple called the "Double Star". It turns out this staple is a staple of extremes. It has the smallest tip area of any of the staples discussed here, yet the base area is fairly large. This staple is even flatter than the standard version, making it the flattest staple here. These characteristics also make it the most angled staple by a significant amount.

• Country – made in France
• Manufacturing Process – formed from a flat sheet around a proprietary shape with a silver-brazed seam
• Cork – natural cork, 30.5 - 31mm long
• Wall Thickness – medium-thick walls that get slightly thicker at the base (.29mm increasing to .30mm)
• Metal Type – available in brass only
• Tip Area – Very small
• Base Area – 18.93mm² (4.86mm diameter), large
• Tip Shape – the flattest ellipse we have
• Mandrel – no mandrel available at this time

6. Gualco (Superstaple)

• Country – made in Germany
• Manufacturing Process – CNC Lathe - an ebony core is inserted in the bore of the middle section
• Cork – none (Excavated metal with 3 rubber rings, 27.3mm long)
• Wall Thickness – medium-thin walls at the tip
• Metal Type – available in brass, copper-plated brass, and silver-plated brass
• Tip Area – average, same as Chiarugi 2
• Base Area – 17.72mm² (4.75mm diameter), smaller side of average, a little smaller than Chiarugi 2
• Tip Shape – flatter side, same as Chiarugi 5
• Mandrel – no mandrel, Roseau Chantant #1 recommended

Generally, this staple is very similar to the measurements of the excavated Chiarugi 2. The wood insert is meant to help with the vibrations in the large amount of metal that must vibrate, and to help sweeten the tone.

7. Guercio

• Country – made in Germany
• Manufacturing Process – a rolling process with seamless tubes following the Klopfer model
• Cork – natural cork, approx. 29mm long
• Wall Thickness – medium-thick walls that get thinner at the base (.23-26mm decreasing to .19-.20mm)
• Metal Type – available in brass, nickel-silver, special brass alloy, solid silver, gold-plate, palladium-plate
• Tip Area – varies by staple model
• Base Diameter – varies by staple model
• Tip Shape – varies by staple model
• Mandrel – mandrel available for each model
• 8 Models

Guercio uses a taper style that produces more volume than most other staple manufacturers with a similar top-to-bottom ratio. Their staples have two places where the angle changes and they also "pinch" the top on some staples (D10, D26, G1). To increase the volume, they add a shoulder in the middle to the R12.

The various Guercio models that start with D are all variations on the old, well-liked Klopfer staples which Gottfried Möckel sorted into sub-sections. A couple of other Guercio models have been influenced by current great European oboists such as Albrecht Mayer of the Berlin Philharmonic and Carlo Romano of l’Orchestra Sinfonica Nazionale della RAI in Tourin, Italy.

Guercio D10

• Tip Area – smallest of all, quite a bit smaller than the Lorée DM
• Base Area – 16.48mm² (4.58mm diameter), small, similar to the Lorée DM
• Tip Shape – almost round
• Volume – small, but a little bigger than Lorée DM
• Taper – very angled, unlike the Lorée DM which is on the straighter side

The smallest Klopfer model; best paired with German-style oboes such as Ludwig Frank, Mönnig, Springer, and Josef. It has a pinched almost round tip creating a very small tip, but it still has good volume in the rest of the staple to produce a refined sound.

Guercio D11

• Tip Area – small, just slightly larger than Guercio D10
• Base Area – 16.72mm² (4.61mm diameter), small, just slightly larger than Guercio D10
• Tip Shape – average oval
• Volume – small, just slightly larger than Guercio D10
• Taper – very angled, about the same as the D10

This model has a more oval, small tip and is not pinched (the main differences between it and the previous staple), so there is less resistance or back pressure. As with all small tips, the cane will need to be tied longer than on a larger-tipped staple. This staple will help close down a reed.

Guercio D12

• Tip Area – smaller average, much bigger than the D11
• Base Area – 17.01mm² (4.65mm diameter), small, very similar to the D11
• Tip Shape – average oval, same as the D11
• Volume – average, much bigger than the D11
• Taper – straighter average, about the same as the Lorée DM

Somewhat similar to standard staple measurements, this staple matches well with the French-style oboes such as Lorée Royal, Marigaux, Buffet, Rigoutat, and Howarth. German players have also especially liked these staples because they offer a "greater dynamic range with freer response, if less refinement or sweetness" than the D10 and D11. (Salter, p.445)

Guercio R12

• Tip Area – smaller average, about the same as the D12
• Base Area – 17.01mm² (4.65mm diameter), small, same as the D12
• Tip Shape – average oval, same as the D12
• Volume – large, much bigger than the D12
• Taper – straighter average, about the same as the D12

The R12 is a staple made in collaboration with the Italian oboist, Carlo Romano. It has the same basic measurements as the D12 but a larger internal volume created by a shoulder section about 7.5 mm long in the middle of the taper, keeping the sound more stable.

Guercio D26

• Tip Area – large, more than the AM
• Base Area – 18.76mm² (4.89mm diameter), large, almost the same as the AM
• Tip Shape – almost round, the roundest staple we sell
• Volume – large, more than the AM
• Taper – straight, unlike the AM which is quite average

The D26 is the largest Klopfer model. It has a significantly larger base area and the tip is larger and more round than the other Guercio/Klopfer models. Additionally, it has a huge internal volume due to the pinched tip. This gives it slightly higher pressure at the beginning but a nice, clear sound going into the oboe. We recommend using this staple with a wider cane shape. The large tip will cause the cane to be more open at the wrap point. Overall, this staple tends to play sharper than standard-sized staples.

Guercio AM

• Tip Area – large, but less than the Guercio D26
• Base Area – 18.63mm² (4.87mm diameter), large, almost the same as the D26
• Tip Shape – rounder, yet not as round as the D26
• Volume – large, but not quite as much as the D26
• Taper – average, unlike the D26 which is quite straight

This staple is based on the Guercio/Klopfer model D26. Albrecht Mayer designed this to match with his eponymous oboe, manufactured by German instrument maker Gebrüder Mönnig. He reduced the tip area and removed the "pinched tip" to reduce the internal volume of the staple. Even though the AM is a bit smaller than the D26, both are large compared to most other staples. "The Guercio AM offers an ideal match to the generous bore of the Josef ‘20th G.S’ oboe." (Salter)

Guercio G1 (Glotin Copy)

• Tip Area – large-average, close to the Lorée regular
• Base Area – 18.56mm² (4.86mm diameter), large, same as the Lorée AK
• Tip Shape – quite round
• Volume – large
• Taper –average, similar to the Lorée regular

This is a copy of an old Glotin staple which many have come to love, but different from a contemporary Glotin staple and also from Chiarugi's Glotin copy. The Guercio Glotin copy has a rounder tip compared to the other two. However, it has much more volume due to its "pinched" tip.

Guercio 1 (GC1)

• Tip Area – small, similar to Chiarugi 1, smaller than Marigaux 2
• Base Area – 15.46mm² (4.44mm diameter), the smallest that we offer, similar to Chiarugi 1, smaller than Marigaux 2
• Tip Shape – average, same as the Lorée DM
• Volume – small-average, close to the Guercio D11, larger than the Marigaux 2
• Taper – straight, same as the Marigaux 2

This staple is a recent design by Carmelo Guercio and, according to Oboe-Shop.de in Germany, is made especially to suit Marigaux oboes. Though the overall size is smaller than the Marigaux staples, it has the exact same tip-to-base ratio as the Marigaux 2 staple. Due to a straighter angle at the base, the Guercio 1 also has more volume than the Marigaux 2 despite the tip-to-base ratio being the same.

8. Hiniker

• Country – made in America
• Manufacturing Process – made using the old school method of hammer-forging with equipment that dates back to the turn of the 20th century.
• Cork – natural cork
• Wall Thickness – Very thick walls that get thinner at the base (.35mm decreasing to .25mm)
• Metal Type – brass or nickel-silver
• Metal Finish – smoot finish with strong scoring to provide improved grip for the cane
• Tip Area – similar to Bonazza and Lorée
• Base Area – slightly smaller than RC1 and Chiarugi 2
• Tip Shape – on the flatter side
• Mandrel – no mandrel (other brands recommended below)

These are oboe maker, Thomas Hiniker's, favorite staples. He has specified a number of external characteristics that are important for matching with his oboes. Specifically, these include:

• Thick natural cork
• Cork glued solidly the entire length
• Thick wall
• No chamfering of the top
• Thick scoring for holding the cane securely

9. Lorée

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork, 30.5 – 31mm long
• Wall Thickness – medium walls with similar base wall thickness
• Metal Type – available in brass or nickel-silver
• Tip Area – varies by model
• Base Area – varies by model
• Tip Shape – average oval
• Mandrel – mandrels available for all models
• 3 Models

Lorée staples, made by Chiarugi, are designed by Lorée to match the different bore models of their instruments. However, they work great in many different instruments and with many different reed styles.

Lorée Regular

• Tip Area – large-average, more than Chiarugi 2
• Base Area – 18.34mm² (4.83mm diameter), large average, more than Chiarugi 2
• Tip Shape – rounder-average, more round than Chiarugi 2
• Volume – average, same as Chiarugi 2
• Taper – average, slightly more straight than Chiarugi 2

These staples have become the gold standard among American oboists. Although not precisely average, they are what most American oboists consider to be the standard staple design. Made for the regular Lorée oboe bore, they are very similar to the Chiarugi 2, with a slightly larger base diameter and a rounder larger tip area, which creates slightly less back pressure.

Lorée AK

• Tip Area – large, almost the same as Chiarugi 2+
• Base Area – 18.52mm² (4.86mm diameter), large, almost the same as Chiarugi 2+
• Tip Shape –average, the same as Chiarugi 2+
• Volume – average, same as Chiarugi 2+
• Taper – average, almost the same as Chiarugi 2+

The ‘AK’ staples were designed to match the ‘AK’ bore instrument models that began to be produced in the late 1980s, copying the bore of the late 1930’s AK series produced just before WWII. These have a larger tip area but with almost the same base diameter as the regular Lorée staple. This would be a good change to make if you are using the regular size and struggling with your A₅-C₆ being flat. The Chiarugi 2+ is essentially the same as the Lorée AK, but less expensive.

Lorée DM

• Tip Area – small, almost the same as Chiarugi 1
• Base Area – 16.54mm² (4.59mm diameter), small, similar to the Chiarugi 1
• Tip Shape – average, similar to the Chiarugi 1
• Volume – small, almost the same as Chiarugi 1
• Taper – straight side of average, straighter than the Chiarugi 1

The 'DM' oboe is often referred to as having a German-style bore with a darker sound but that is debatable by some. Produced in the 1980s for about ten years, the ‘DM’ oboe benefited from a thicker-walled smaller-bore staple which is still sold today and used for various reed styles. The Chiarugi 1 staple is very similar to the Lorée DM but is less expensive.

The overall pitch of the 'DM' is lower than larger staples, and it has a very round, dark, centered, stable sound. It tends to open any reed in comparison with a Chiarugi 2, and can correct some challenges to intonation around Upper-A₅. This pairs well with a bright instrument or one that tends to be sharp.

10. Marigaux

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork, approx. 30.5mm long
• Wall Thickness – thin walls increasing to a thick base (.15-.21mm increasing to .29-.35mm)
• Metal Type – available in brass only
• Tip Area – varies by model
• Base Area – varies by model
• Tip Shape – average oval
• Mandrel – mandrels available for two of the models
• 3 Models

Marigaux has designed staples that match well with several of their instrument models. There is more variation than one might expect between the measurements of the Marigaux 1 and 1SL staples, but they are still similar staples. The staple walls are all considered thin, but the 1SL and 2 are extra thin. All Marigaux staples have thick base walls, however. Marigaux only makes brass staples.

Marigaux 1

• Tip Area – smaller-average, same as the Pisoni Artist
• Base Area – 18.09mm² (4.8mm diameter), average, same as Chiarugi 2 and Pisoni Artist
• Tip Shape – flatter-average, same as Pisoni Deluxe
• Volume – average, same as Chiarugi 2

• Taper – angled side of average, slightly more angled than Chiarugi 2

The Marigaux 1 staple is Marigaux's standard staple to fit any Marigaux instrument, although it is particularly recommended for the Model 901. The tip shape tends to be flatter than the other Marigaux staple models, even the 1SL which is designed to be the same shape. Due to the flatter shape, the tip area is smaller than the 1SL. This, along with the thicker walls, gives it a feeling of more resistance and back pressure than the 1SL. The mandrel that is made for both the Marigaux 1 and 1SL fits the shape of the 1SL better and therefore conforms the Marigaux 1 to a more analogous shape. Marigaux derived this staple from the Chiarugi 1 staple but the Marigaux 1 is larger overall.

Marigaux recommends the Marigaux 1 and 1SL for the 901 / 2001 ranges of their instruments.

Marigaux 1 SuperLeggera (1SL)

• Tip Area – average, same as the Chiarugi 5, a little bigger than the Marigaux 1
• Base Area – 18.11mm² (4.8mm diameter), average, same as Marigaux 1
• Tip Shape – average, almost the same as Chiarugi 2+
• Volume – low-average, only slightly less than Marigaux 1
• Taper – average, slightly straighter than Marigaux 1

The Marigaux 1 SuperLeggera is supposed to display the same dimensions as the Marigaux 1, but it tends to have a rounder tip and a larger tip area. Wall thickness is supposed to be the defining characteristic of this staple. SuperLeggeras are designed to be very thin, which allows the staple to start vibrating very quickly, reducing the effort required to play. It is particularly suited to players who like the Marigaux 1 staple dimensions but are looking for a lighter, more airy feel.

Marigaux 2

• Tip Area – smallest-average, close to a Lorée DM
• Base Area – 16.76mm² (4.62mm diameter), small, same as Guercio D10 and close to a Lorée DM
• Tip Shape – round-average, close to the Guercio D10
• Volume – small, close to Guercio D10 and Lorée DM
• Taper – straight, a little straighter than Lorée DM but opposite to Guercio D10

The Marigaux 2 staple was developed specifically for the M2 Model. Even with a small tip area, which usually produces more back pressure, this staple is light to play on. It has the same thin walls of the Marigaux 1SL, and is well-balanced and even.

11. Pisoni

• Country – made in Italy
• Manufacturing Process – hammer forging
• Cork – natural cork, 29.5 – 30.5mm long
• Wall Thickness – thick walls decreasing to a thin base (.31-.36 decreasing to .20-.23mm)
• Metal Type – available in brass or nickel-silver
• Tip Area – average
• Base Area – larger-average
• Tip Shape – average oval
• Mandrel – mandrels available, not a great fit
• 2 Models

Pisoni brand products come from the Italian company, Music Center SRL, owned by Luciano Pisoni.

Pisoni Artist

• Tip Area –average, same as Marigaux 1 but not far from Chiarugi 2
• Base Area – 18.17mm² (4.81mm diameter), larger-average, very close to Marigaux 1 and Chiarugi 2
• Tip Shape – flat, close to the Glotin
• Volume – large
• Taper – angled (high end of average), close to the Marigaux 1, rounded outside bevel at the tip

Pisoni Artist staples are the thickest-walled staples we carry. They can be recognized by the inscribed parallel lines around the top of the staple.

Pisoni Deluxe

• Tip Area –average, close to the Chiarugi 2, includes an inside bevel
• Base Area – 18.17mm² (4.81mm diameter), larger average, very close to Marigaux 1 and Chiarugi 2, not uniformly round
• Tip Shape – flatter average, same as the Marigaux 1
• Volume – large
• Taper – angled (high end of average), close to the Marigaux 1 and Chiarugi 2

Deluxe staples are nearly identical to the artist models. However, they have an internal bevel on the tip of the staple. This will tend to reduce some of the resistance and back pressure that may be felt in the Artist version. The deluxe staple can be recognized by the diagonal lines at the top of the staple.

12. Prestini

• Country – made in America by Prestini International Corporation
• Manufacturing Process – CNC Lathe, not extruded
• Cork – natural cork from Portugal, 29.5 – 30.5mm long, synthetic cork, same variation
• Wall Thickness – average at .22mm from top to bottom
• Metal Type – available in brass or nickel-silver
• Tip Area – average, very close to Lorée regular
• Base Area – 18.67mm² (4.83mm diameter), larger-average, smaller than Chiarugi 2+ and larger than Lorée AK
• Tip Shape – round-average, similar to Lorée regular
• Volume – large-average, same as Chiarugi 5 and similar to Lorée AK
• Taper – angled (high end of average), very similar to Pisoni
• Mandrel – these are made to fit a Lorée or Rigotti mandrel

Started in 1890, the Prestini brand is now in its third generation. Giuseppe Prestini II took over the company in 1981 and established the U.S. location in Nogales, AZ. Though their measurements don’t line up perfectly, they are intended by Prestini to fit perfectly onto Lorée mandrels, and they do appear to fit well. These are also available directly from Prestini with quantity discounts for batches of 100 or 1000, and are likely a common staple used in commercially-made reeds. Having relatively thin walls gives them lower resistance which is desirable for student reeds.

13. Reeds 'n Stuff

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork from Portugal covering 2/3rds of staple, 30-30.5mm long
• Wall Thickness – average wall thickness from tip to base (.23mm to .24mm)
• Metal Type – available in brass only
• Tip Area – large, same as Lorée AK
• Base Area – 17.28mm² (4.69mm diameter), smaller-average, almost the same as Roseau Chantant #2
• Tip Shape – average ellipse, same as Roseau Chantant #1 and #2
• Volume – same as Eterion
• Taper – fairly straight, very close to Guercio D26
• Mandrel – Reeds 'n Stuff mandrel available, however we have found that the mandrel isn't fitting well. The Eterion mandrel is a better fit.

The Reeds 'n Stuff staple is in between the Eterion and Roseau Chantant #2 in the tip size while the base of all three are essentially the same. They all work well with Marigaux oboes but their slight differences in tip size affect the pitch and intonation slightly. The Reeds 'n Stuff staple also has thicker sides than the other two if you prefer a little more resistance.

14. Rigotti

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork, approx. 30.5mm long
• Wall Thickness – average walls increasing to a slightly thicker base (.23mm increasing to .29mm)
• Metal Type – available in brass or nickel-silver
• Tip Area – average, same as Chiarugi 2
• Base Area – 18.11mm² (4.8mm diameter), larger-average, very close to Chiarugi 2
• Tip Shape – average oval, same as Chiarugi 2
• Volume – average, very close to Chiarugi 2
• Taper – angled (high end of average), very close to Chiarugi 2
• Mandrel – mandrel available

Rigotti, a large farm ggrid-wrap_2ing, harvesting, and processing arundo donax for reed instruments, also sells other products for double reeds under their name. Many of their products are made for them by Chiarugi. Their regular oboe staples are essentially the same as a Chiarugi 2. They also now carry a 2+ and a nargrid-wrap_2 version which are not commonly seen in the U.S. The 2+ is obviously the same as the Chiarugi 2+ but we are not familiar with the nargrid-wrap_2 staple.

15. Le Roseau Chantant

• Country – made in Italy by Chiarugi
• Manufacturing Process – CNC Lathe
• Cork – natural cork, approx. 30.5mm long
• Wall Thickness – average to thin walls increasing to a slightly thicker base (.22-.25mm increasing to .26mm)
• Metal Type – available in brass or nickel-silver
• Tip Area – varies by model
• Base Area – varies by model
• Tip Shape – rounder average
• Mandrel – mandrels available
• 2 Models

Le Roseau Chantant began in 1998 in Montreal, Canada. They spent 11 years in Lyon, France before coming back to Montreal in 2018. Besides ggrid-wrap_2ing cane from the Camargue region of France, they have developed a number of products for the oboe reed including proprietary staples and shapers. They have two varieties of staples to address different notes on certain oboes.

RC1

• Tip Area – average, same as Marigaux 1SL
• Base Area – 18.01mm² (4.79mm diameter), average, very close to Marigaux 1 and 1SL
• Tip Shape – round-average, same as Margaux 2
• Volume – average, close to Marigaux 1
• Taper – average, close to Marigaux 1SL

This staple is very similar to the Marigaux 1 and Chiarugi 2 staples in dimensions, though slightly less conical. According to Le Roseau Chantant, “it is very stable on more sensitive notes such as G₄, C₅, G₅, and F#₅. The sound is round and easy to produce, with good projection.”

Additionally, they recommend these staples for all French makes of oboe, as well as with Mönnig, at 47mm, 46mm, and 45mm lengths. Le Roseau Chantant also mentions that they work well with the Ludwig Frank and Josef instruments, but only at the 47mm length.

RC2

• Tip Area – large, very close to Chiarugi 3
• Base Area – 17.32mm² (4.7mm diameter), smallest-average, very close to Chiarugi 6
• Tip Shape – round-average, same as Marigaux 2
• Volume – low-average, close to Marigaux 1SL
• Taper – very straight, nothing like it

According to Le Roseau Chantant, “the RC2 staple features a more rapid response and easier speaking at the octave. It is the most responsive of the wider staples, and retains beautiful tone and warmth in the sound.”

They developed it in 2009 specifically for the Marigaux oboe Model 901. At that time, the 901 had a slight tendency to be low at the octave – especially on the A₅ and Bb₅, so they decreased the angle of the taper, making the tip larger and the bottom smaller, which fixed the octave issues; then they made the wall thickness very thin, increasing the ease of response and air speed.

According to Le Roseau Chantant, this staple works well on Marigaux models 901 to 2001, and also on Rigoutat, Buffet Prestige, Lorée Royal and ‘AK’ bores, Howarth models XL and LXC, and Mönnig Am155. It is less effective for instruments such as the Lorée ‘DM’ model, Yamaha (31 series, European bore), Josef, and Ludwig Frank.

That covers all the staple brands we have in our store. As we get more, we'll update this blog. If there are specific staples you want, let us know and we will do our best to get them for you.

These final charts can be used to compare the staples in various areas all at once. Click to enlarge in a new tab.

A question that comes to mind at this point is about mandrels. With all those differently sized staples, can I still use my old mandrel with any that I try? We'll discuss that question and more in the next chapter on mandrels. Click on the button to go to Chapter 4.

Works Cited