Distinguished SOTW Member
selmer 26 nino, 22 curved sop, super alto, King Super 20 and Martin tenors, Stowasser tartogatos
Thanks for sharing. It would be interesting to know how long it took Patrick to play the oboe with a single reed and if he had oboe experience beforehand. If you can play the instrument as a sax player without much practice it might be an interesting option if someone needs to double on an oboe. However, if you can actually play the oboe, I am not sure about the benefit of a single reed.Listen to this to understand why these are not more popular
He is an oboe player. As an oboe player for many years, and a sax player as well, including sop and nino, I know the differences in feel between single and double reeds. They vibrate very differently. The single reed if flat and when it oscillates it does so in a planar manner. The double reed is curved, and oscillates by bending the reed inwards with the corners fixed and touching each other. IMO you can never get a really good clean oboe sound with a single reed because it responds very differently to changes in embouchure pressure. That is why, I guess, that the single reed mpc for oboe never really was successful.Thanks for sharing. It would be interesting to know how long it took Patrick to play the oboe with a single reed and if he had oboe experience beforehand. If you can play the instrument as a sax player without much practice it might be an interesting option if someone needs to double on an oboe. However, if you can actually play the oboe, I am not sure about the benefit of a single reed.
BTW, here is the direct link for the video, if anybody can't find it through Kymarto's duckduckgo link:
I agree 100%. When I started oboe in high school, I was already playing clarinet, alto sax, and baritone sax. It was no easy feat to make the switch but I accepted the challenge.As an oboe (and bassoon) doubler for many years, in my opinion the double reed emboucher is the least of the problems in playing these instruments. Reed making and adjusting for pitch, timber and response are far more critical, not to mention technical considerations of fingering. After all, the ultimate goal of any doubler should be to play at a level technically and tonally that the listener will be unable to detect which is your principal instrument. To handicap yourself by using a single reed setup on either of these instruments is to set yourself up for failure at the outset, and make what should be your goal in playing these instrument harder, or actually more or less impossible to attain. There are truly no shortcuts in becoming a truly skilled woodwind doubler! It takes hard work and good teachers, and dedication. Just my two cents.