Doublereed teachers and students: Let me know if you are interested in a back to school care package! I made these posters to be funny a while ago but I ordered way too many of them! DM me if you'd like me to mail you a few! You're gonna want one on your studio door, one in your reed room, one on your fridge and one taped to your bathroom mirror at the bare minimum!!!
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i don't think i've made a reed i liked in like. three years. so i keep trying to play everything on the one same reed i did actually like, and even though it's kind of worked so far bc i am just not playing that much, it's obviously uh, not sustainable, since reeds are made of organic material that breaks down as you use it, right, so it's certainly past its peak and sometime soon will inevitably fail completely and i truly don't know what i will do when that happens :)
it is frankly hilarious to me how strongly diverging the opinions are that oboists will have on reedmaking. even when they themselves had the same damn teacher
made 2 really good reeds today ms. blue and pink and ms. red. i think bluenpink is recital meterial but im still keeping ms red in the running because its also a really good reed. yellow is decent aswell it needs like one more working on it but i think it has potential to at least be a good rehearsal reed. and then the pink/purple and the blue i just tied off today they might be for opera later this month if they turn out nice
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I always wondered how reed making worked, but I never knew anyone who did it! how did you learn to do it and get better? how long have you done it?
my first teacher wanted me to start early on reedmaking so I’ve known how to handle a reed knife for about as long as I’ve been playing (about 7 years)
I’ve only had 2 teachers but they were both adamant that I make my own reeds, because it’s cheaper than buying them pre-made. there was almost equal emphasis on my reedmaking skills as there was on playing technique x)
it’s a LOT of trial and error I’ve probably only made about 60??? reeds altogether, which isn’t a lot at all, but half of them didn’t work or I accidentally ruined them lmao. my second teacher really helped me improve and I can make reeds pretty reliably now (though they range from having an ok sound to concert quality hdjchdjdh)
excerpt from Conjugation, Operation e Diabolica in Musica: Y Commouð Deviant Primal (The Early Deviance Movement), a 1970 historical review written by Borlish popular historian Catrin Veçount.
Nell'oc capparol voum nos un survol accommettr dy ci autranç cas bugnment compostion, cas frameð musical, cas apprestanç de melody e harmoin, cas con- e desjogntur deur y model preluïscent, e cas y detaxion de costum mondial con particulertað vecin.
In this chapter we shall undertake an overview of the changes in instrumentation, in musical structure, in melodic and harmonic structure, in con- and disjuncture from the earlier styles, and in the detaxion of global traditions with vicine particularities.
Reconnoscenç dant all'experiç de Monçating con y bugn, commettreu nos parmy scaumel ag toriot.
In light of Monçating's facility with the instrument, let us begin in the pipe family with the torriot.
Pre y siecr novoç, y ci (vangard dy) toriot e bugn scaumel cosvour a ton mogn ayen cos usual un yevot sou dou doblanç eð un dureç limitað sad par y defait de lodrigneth modern vars jonc taglar.
Before the nineteenth century, the (precursors to the) torriot and similar low-pitched pipe instruments generally had a range of less than two doublings and the lack of modern reedmaking techniques severely limited their volume.
For posc l'yenç de forað pedal—adaptað des mechanism tarront par y peria nadasvarm madrayan deur plusour dezein—poðen sofflour a toriot sy tac mogn parnommað acavar (e cos final y nom 'picq tonneðr' valir) tan e sell'yevot alto clar voutent.
It was only with the advent of pedal holes—adapted from mechanisms pioneered with the Madray peria nadaswarm some decades earlier—that torriot players could reach both its famed low notes (and finally be worthy of the name "little thunder") and the startingly clear alto range.
$1/piece!!! Gouged, shaped and scored oboe cane and GSP bassoon cane Factory Seconds!
Due to a frenzy of recent stockpiling in preparation for traveling to GPBC, we have a plethora of factory seconds available! They are on sale for $1 per piece while supplies last. They are all structurally sound and usable pieces of cane. They may have some discoloration or frayed bark. They are a mix of random shapes.
Oboe factory seconds come in packs of 60, bassoon factory seconds come in packs of 10. Great for learning how to make reeds, practicing reedmaking, teaching reedmaking and just general reedmaking gambling!
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every time i'm prepping for an outdoor gig i try using the legere reeds, and every time i decide to just suck it up and deal with whatever my normal reeds throw at me, because the legere just don't have the response or the strength i need. even on the harder one, the open E sinks and the high range is strained and they just lack a sweetness you get from real arundo donax. and it's a damn shame that i can't use them for their main purpose, especially since they were so goddamn expensive