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10

In this admittedly limited study, they record one oboist using more than double (over 110 cm H2O) the blowing pressure to play fortissimo compared to two different clarinetists (both around 50 cm H2O), also playing fortissimo. The other oboist in the study blew a peak pressure of about 80 cm H2O for fortissimo playing. A better graphical comparison is ...

9

I love the instrument and I'd really like to start learning Then do it. I'm almost 48 years old. About two months ago I started French horn lessons. I have never played a brass instrument before. I'm sure you know that in the brass family, the French horn is seen as the difficult one. I thought a lot about taking up the trombone or the trumpet, but I ...

8

For a pipe without any holes, the fundamental pitch of a pipe is determined by f = v/2L, where v is the speed of sound and L is the length of the pipe. But when you start putting holes in, you get a mix of pipe lengths. It gets messy (mathematically) in a big hurry. Placing a hole in the pipe shortens its length, but the new length - the effective length - ...

7

The main problem is that it's an oversimplified assumption to consider an open hole as a perfect open boundary condition for the air column. In fact such a hole still has a significant impedance. On the other side, the mouthpiece is not a perfect closed (reeds) or open (flutes) boundary condition, and also a closed hole still affects the column somewhat. A ...

6

You can cut the staple shorter, but it depends on the staple. If the staple is the type that doesn't have a rolled or fluted edge at the cork end, you can shorten it with some basic hand tools. Using a sharp knife (such a an x-acto hobby knife) or razor blade, you cut the cork around the staple pipe at the new length distance. After marking the cut you ...

6

I did the experiment, and the answer is yes, it can be done! It ain't really pretty, but you didn't ask for pretty! ;))) I happened to use material from thin surgical type gloves (non-latex but stretchy): You'll need some kind of tube (I used the body of a low D penny whistle, sans the usual whistle head --- just a tube with six finger holes in it), gloves ...

6

Yes and no. First and foremost, the reed should match your jaw strength and stamina; if you can't bite down hard enough on the reed to compress it against the mouthpiece (and then sustain that jaw pressure over time), you'll squeak. Conversely, if you bite down too hard, you'll "pinch off" the sound; it will trend sharp and then in the extreme you'll fail ...

5

Much like the strengths of different brands wooden reeds, plastics reeds also vary - a number 3 is not always a number 3! You'll need to find an appropriate comparison chart (like below) for whichever brand of reed you choose to buy. (I'm not sure what's available in Canada, apologies.) I have two Fibracell reeds, and haven't been especially impressed by ...

5

YES. The easy way is on a C/T harmonica with a valve on the 5 hole. This will allow you to play chromatically in the mid range of the diatonic harp. The 5 hole will require a blow bend , giving you a full chromatic scale. If you valve the 2 hole for an additional blow bend you can play whatever you want. Works for me as I am a full time teacher, studio ...

4

Your question is very broad, in that you do not even attempt to clarify what purpose it serves. There is an abundance of various reed instruments out there. Why are you interested in the material used? To build your own reed instrument? Are you a double-reed player who needs to make their own reeds? The most common reed material when it comes to Western ...

4

A big part of the difference in sound comes down to the lips. Instruments like the oboe and bassoon are played with the reed between the lips, which act to dampen the higher harmonics that contribute to that "rough" or "wild" sound. A great comparison is to look at the predecessor of the oboe, the shawm https://en.wikipedia.org/wiki/Shawm)...

3

If you have a local music shop, I'd suggest going down there and sampling a few different varieties. I, personally, have found little success with the JAVA series and have seen better consistency in Rico Jazz Select (cheaper, too!).

3

I have also been working on an electronic harmonium and, after experiments with synthesis I agree with user44435 that it makes sense to reproduce sampled material. I am using Javascript AudioContext. Each of my harmonium's 42 reed sounds are recorded as individual mp3 files and decoded and stored in a buffer using createBufferSource and decodeAudioData. The ...

3

Ugh, got it: approximately 1 mm. If it's closed entirely, i.e. new, put the reed's tip for about 2 minutes into water. Put about a quarter of the reed into your mouth and very lightly squeeze it while blowing.

3

Yes, you can play all the half notes (black keys on the piano) for the whole range, but as mentioned above, a LOT of practice is needed. I'd guess a couple hundred plus hours of experimenting to get all the notes, now i'm finally getting some convincing quality, but it is very difficult. I wouldn't exactly call it practical yet, but it's a fun challenge.

3

I think you've got the answer and just need clarification. You could learn to play a convincing A by bending with more practice. You can even learn to bend on the blow notes. And there are also techniques called "overblow" and "overdraw" that give you a lot of range on one reed (or so I've read, I never got past blow bends). As easy as a harmonica is to ...

3

Start by drawing on hole 8 will give you the notes without bending. An octave higher than where you originally want, though. It can also be played on a G harp, starting on hole 6, with a blow. The trouble with the lower holes is there's no 6th note from the scale, so the 7th needs to be bent a whole tone. To make that A). This isn't easy to do exactly in ...

3

The oboe is much harder to play than the clarinet. Your experience on the clarinet will help a bit, a lot of the fingerings will be familiar. The oboe has much more resistance, you will need to re-learn a lot of your breath control. The embouchure muscles work differently and it will take a long time to build them up, your clarinet experience won't help much....

2

I apologize for making this an answer, since I cannot comment due to lack of reputation. I was in various high-school and college orchestras back when I played clarinet (about 4-5 years ago now), so the information I have here for you may be outdated. I tried Legere reeds when they first came out, and have also heard semi-good things about Fibracell. ...

2

I think that you may want to try a piezo pickup even though your comment about "transducers" seems to rule them out. To my knowledge there is no equivalent to guitar pickups for free-reeeds, i.e. some type of pickup that transforms the mechanical motion of the metallic reed into an electrical signal (such a thing would seem to be possible for steel reeds, ...

2

I play an Alora Vienna series intermediate grade tenor sax with a generic Usongs #8 metal mouthpiece I found on Amazon for \$20, a Rovner leather ligature, and a #5 Fibracell reed. I've found that I have to position the tip of my reed perfectly with the edge of my mouthpiece and I even have to go so far as to re-mount my reed several times to get the ...

2

I've got a silver guardala studio mouthpiece on my tenor, and I've started using alto reeds on that. It's a very slim mouthpiece.

2

It could be said that it is the same family of wind instruments (aerophone). Suona is considered an international instrument played in more than 30 countries in Asia, Africa and Europe. It is called Shanai in India, other denominations are Shenai or Rhaita, in wikipedia you can find many more denominations: https://en.wikipedia.org/wiki/Suona#History https:...

1

My teacher always told me to let the instrument rest on your lower lip, never press it against the top. It gives you a better overall control and it is more relaxing. Especially when breathing you should let it rest on the bottom and lift the top of your mouth over it. So while you need some pressure from both sides when playing consider the bottom the ...

1

No, you don't need to touch the top of the reed in general to play the oboe. If you play off the tip a lot your top lip will probably touch it, but most likely not near the tip since you want it free to vibrate. You don't want the roof of your mouth to touch it and your tongue should always be controlling the bottom of the reed.

1

The Borel Clavietta used stainless steel reeds, as did the Guerrini Pianetta; however, I cannot find information on their ferromagnetic properties. A discussion on Melodicaworld, titled La Clavietta Stainless Steel Reed discusses the Clavietta and Pianetta, their reeds, and how to effect a repair. Today the Middle B note of my beautiful Clavietta stopped ...

1

Metal mouthpieces are slimmer than hard rubber/plastic mouthpieces across the board (for reasons that have to do with tone), so it's not necessarily one specific metal mouthpiece that this would work for.

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