THE ART OF MAKING OBOE REEDS

Ekaterina Skidanova

Degree Project, Bachelor of Fine Arts in Music,

Classical performance
Spring Semester 2014
Degree Project, 15 higher education credits
Bachelor of Fine Arts in Classical performance
Academy of Music and Drama, University of Gothenburg
Spring Semester 2014

Author: Ekaterina Skidanova

Title: The Art of Making Oboe Reeds
Supervisor:
Examiner: Dan Olsson

ABSTRACT

My work is about the reed making craft, which is very important for
every oboe player. I write about different cane, tools, measurements,
my own way of making reeds and my experiences. I also interviewed
some professional oboists and compared the different ways of making
reeds.

Key words: Reeds, oboe, tools, scraping

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 Contents:

1. Introduction ............................................................................ 4
2. Construction of the instrument ”from the start or how did
the oboe look before”.................................................................. 5
3. About reed making
a) First thoughts and preparation ....................................... 7
b) Cane ................................................................................... 8
4. My own way of making reeds ............................................... 9
5. Interviews .............................................................................. 13
6. Opinions of Others ............................................................... 16
7. My own reed experiences .................................................... 18
8. Conclusion............................................................................. 19
9. Literature.............................................................................. 20

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1. Introduction

In this work I share my own experiences as an oboist and becoming a

professional musician; how is it to be an oboe player and how much
one has to work with reeds and create your own way of making them.

I also explain the evolution of the oboe as a woodwind double reed

instrument and the development of reed making.

Reed making is a craft! First of all one should shape the wood and
only after that scrape the reed. What is shaping? And how to choose
the right cane for that?

Personally, I make reeds all the way from the tube cane to the actual
reed by myself. Trying new things always helps me to develop my
own way of reed making.

In the beginning there are too many tools and models to choose from,
depending on the player, the oboe model and style of playing.
What to choose and how to start? Is there is any wrong or right way?

I have taken some interviews from professional oboists to show how

different and individual the reed making process is for everybody.

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2. Construction of the instrument from the start or
how did the oboe look before
The oboe as a double reed woodwind instrument began more than 300
years ago. There are three roughly defined main stages.

The first stage covers the invention of the oboe in the middle of the
17th century to the end of 18th century. Despite very primitive and
limited device and technical possibilities, because of its sound quality,
the oboe nevertheless quickly became one of the leading instruments
in the opera as well as in wind orchestras.

The second stage of the evolution of the oboe continues for almost the
whole 19th century leading to a new French system. The construction
of the instrument improved, increasing the number of the keys,
expanding the range and creating new technical possibilities.

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The third stage of the history of the oboe falls in the last decades of
the 19th and 20th centuries. It began with a radical reform of the
construction of the instrument, which occurred in France in 1881. The
French system expanded expressive and technical capabilities of the
oboe, making the instrument more virtuosic to match the flute and
clarinet.1

The reed went through its own evolution together with the oboe. As a
result there are two types: a wider reed - for the German system, and
more a narrow reed with a long staple - for the French oboe. Both
types have different ways of scraping. Later on, the American system
of scraping began to be implemented. These different ways of
scraping affect the sound.2

American scraping French system German system

1. I. Pushechnikov 2005 2. V.P. Veselov 1987

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3. About reed making

Most oboists assume, that the most important part of playing and
learning how to play the oboe is reed making.
The oboist must find their own way of making reeds, which fits them
the best, giving them the possibilities of playing and sounding as they
wish.

a) First thoughts and preparation

How to start to make your own reeds and from where to get the
materials?

There are many possibilities. One can buy all the required equipment,
but will not be able to make the reed alone for the first time. I needed
a reference of someone I trust; my teacher was the best example. I
tried to make the same type of reed and copy his way of making reeds.
I also found enormous help and support from other oboe students, by
making reeds together when I didn't have all the tools and had no idea
how to start. I learned a lot from them.

Reed making is a craft and it took me some time to get used to it. I
made many reeds before I could feel it in my muscles/hands.

I never stop trying new things and developing my reeds; there is

always a feeling that something can be better!

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b) Cane
The physical parameters affect the process of getting the reed to
sound. The construction of the oboe double reed consists of two
pieces of cane fastened together to the staple. The double reed is made
from the special cane Arundo Donax. The condition of the cane
depends on its age, drying and storage. The traditional region for cane
is France, but in general there are several regions.
Cane is sold in several forms: as tubes, gouged, gouged and shaped, or
gouged and shaped and profiled. It takes a lot of time and many steps,
depending in which form you have your cane, before you are able to
scrape the reed.

The strength of the cane is very individual. Some players prefer harder
cane, some softer.

I personally prefer harder cane, but not too hard. I think it's easy to
work with and control while scraping. Also it fits my oboe better.

Wood quality affects the reed. I can't make a reed from bad cane. I
choose the cane by its color and age: more yellow with some dark
spots tells me that the cane is ready to be used. If it's light yellow with
a fraction of green it needs some more time in the sun. Even if I
bought this type of cane I can give it a try by putting it in the sun for a
while.

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4. My own way of making reeds.
When I began to play the oboe, for many years I was buying reeds. I
made my first reed during my second year of my Bachelor studies at
the Academy of Music and Drama, Gothenburg University. My
teacher Mårten Larsson was and is my mentor and the person from
whom I have learned how to make reeds.
One of the important aspects is to find and to use the right kind of reed
making for your instrument. Being able to make reeds helps to open
up your instrument abilities.

I play a Roland Dupin oboe. It's a French brand with the French
system from Luxembourg.

I have to make many steps with a lot of measurements before I can

start working on the scraping the reed. The way of doing each step is
also very individual.

First of all I select the right tube diameter for my cane. This is
important in achieving the correct opening for the reeds. I like my
reeds to be open so I use 9.5-10mm diameter. Then I split the tube of
cane in to 3 equal parts, and soak them not longer than one and a half
hours in cold water. Currently I use the Rigotti cane. I order it in tubes
from the factory in France. After trying many different sorts of the
cane I found that Rigotti cane fits me and my oboe the best. From my
experience, it's better when the cane is not too damp. Also when it's
dry it can easily crack. After that, I gouge the cane somewhere
between 55-57/100mm. In my opinion, 56/100 mm is the best.
To g ge the cane, I take away the wood from the inside of a tube
with a special gouging machine.

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If I don't measure the cane carefully while gouging it, I can end up
with cane that is too thick, which will cause me problems when I start
scraping. It would be far too much wood and impossible to make the
reed vibrate. The thickness of my gouge has a lot to do with the
resistance of the reed. It is also very closely connected with the
hardness of the cane. Using the hardness tester I can sort the cane into
four categories: very hard, hard, medium & soft. This is not a measure
of quality. It is representative of the density of the fibers in the cane.
The hardness chosen must correlate with the appropriate gouge
thickness. Harder cane must be gouged thinner and softer cane thicker.
Hardness tester Micrometer

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 The shape of the cane is a very important parameter in reed
making. Many of the sound, intonation and stability problems
encountered in reed making can be helped or solved by finding
the right shape. My first shape was Reiger 2. It's a hand shaper
and very popular in Scandinavia.

At the moment I use number 118 shape. The shaping machine (there
are many brands of them) is superior in quality to hand shape tips
because the gouged cane sits flat, not folded, and the angle of the
blade is set ensuring perfectly even sides. This is crucial in helping
reeds vibrate properly once bound onto the staple.

This is the shape 118, there are many different ones, wider and narrower

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I have experimented with warming up the staple before I tie the reed,
but I found that it's not necessary, doesn't make any difference for me
and takes a lot of time. I tie my reed, so the reed is 73 mm in total on
the Glotin 47mm staple.

Than I leave the reeds to rest for at least a week, to make the cane
settle on the staple and not move. When I open the reed and make the
first steps of scraping just the sides and the tip, I leave the center the
hea of the reed untouched. The next day, when I continue
scraping, I cut the reed around 72,5-72mm long. While scraping I
have to be very careful and not press the knife too hard, otherwise it
can take too much cane and make the reed unbalanced, affecting the
in na i n. I c a e he hea f he eed at the end as the very
last step.

For me the reed making process is a professional art, which I enjoy!

In he b e ld he e i an e e i n M a eed . I i he eed
for playing Mozart in general, but especially the Mozart oboe
Concerto in C dur K.314. For me it has to be an almost perfect reed,
which has a nice soft sound, very flexible and responds very well.
This is a reed which helps me to show my sound and musical skills.

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5. Interviews
I had the honor to study at the Academy of Music and Drama,
Gothenburg University with Mårten Larsson, the Solo oboist of the
Gothenburg Symphony Orchestra. From him I learned not only how to
play the oboe, but the whole craft of reed making. I interviewed him
to share his experiences with reed making. The other participant in the
interview is Carl Andersson, the second oboist of the Helsingborg
Symphony Orchestra whom I recently met and had a pleasure to play
with in Helsingborg. Mårten Larsson is playing on Roland Dupin
oboe, but Carl Andersson is playing on Marigaux: both are the French
system oboes.

1. Is it a hobby”to make reeds” or a professional need?

Mårten: For me it's both.

Carl: It's a professional need, but I always try to enjoy!

2. How many reeds a month do you make?

Mårten: Not so often, I make 10 reeds every month.

Carl: I make 10-15 reeds twice a year and then I play a half season on
them, mostly as a second player, but also first in chamber music and
as a soloist.

3. How long time does it takes until you can try and play on the
reed?
Mårten: I do it immediately.

Carl: I always have a very long foresight with reeds. So when I have
made the first scrape the reeds have to rest for some days, sometimes
longer.

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4. What is the”Mozart reed” means to you? Is it something
special? Different? For how long do you prepare it?

Mårten: A Mozart reed should be quite closed, not too heavy to play
on. The reed should have the right opening from the beginning. One
week before the concert I practice on it.

Carl: Normal. I ne e ha e ecial eed .

5. For different concerts do you use a special reed?

Mårten: Yes I do. When I make reeds, I sit in my room with a candle
and listen to the music I'm going to play. Listening and imagining on
which reed I can play that particular piece and than I try the reed
directly.

Carl: I try my best to never play on a reed which I can't play both
softly in the low register and with a full sound on the high register.

6. Do you like to experiment with reeds or you prefer your own

way and stick with it?

Mårten: Just my way! Which is : I use Rigotti cane from France,

gouge it somewhere between 55-56-57mm, than I tie my reeds 73
mm, after I cut them around 71mm on the staple Glotin 47mm.

Carl: If I hear about something I always try it. My way of making

reeds and advice: Don't use too narrow shaping. Just tie up until the
reed closes, so about 73 mm with a 46 mm staple. Otherwise you
kill he eed. Al a e me al wire, so that the reed is fixed and
doe n move. Warm up the staple before you tie up the reed. Don't
use staplew which are too conical (bad intonation). Don't make the
reeds too fast, they last longer with foresight. Always have one upside
and one downside on the reed. Scrape the body of the reed as evenly
as possible. Make the upside slightly longer when you cut the reed (as
the clarinet)

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Many of the most successful oboists in Scandinavia use Glotin staple,
46mm or 47 mm diameter.

7. From whom have you learned reed making?

Mårten: The first person was Erik Nord Larsen. I was 14 years old
and we met in Arvika. Then I learned from Bo Eriksson. He was like a
God for making reeds.

Carl: I have had the opportunity to play with many of the most
successful oboists in Scandinavia. Especially when I was younger I
always talked about reeds and instruments. And have learned a lot
from many oboe players.

8. How to make first/second oboe reed? What does it mean to

you?
Mårten: The first oboist reed must be strong, to be able to come
through the whole orchestra. And of course very flexible. For me it's
hard and really a challenge to make the second oboe reed. I must have
the right sound. To make the reed which blends with the first oboe
player. It has to be flexible, to be able to play soft in the low register.

Carl: I use the same reed if I play first or second oboe, chamber
music or as a soloist. You can use a worse reed, when you play
ec nd, b I al a la m be . I d e n make an
difference for me. When I play second oboe I try to blend to the first
oboe player, to the sound and style of playing.

9. Can you call the reed making an art?

Mårten: Yes I do. In my opinion it's really is an art!

Carl: Reed making is a handicraft. Music is art!

P.S. Mårten: Start your day with practicing and than you can make
reeds. The more you practice, the more you get flexible in your
embouchure and you are able to play on any reed.

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Carl: I think that embouchure and breathing technique is much more
vital reason for a good oboe playing, then reeds.

6. Opinions of others
Everybody has their own way of making reeds.
Often oboists search for the reed which is comfortable to play on.
What is comfortable?

For me a comfortable reed is: the reed which responds in all the
ranges and with which I am able to play different dynamics. Also it
has a good attack, so I would be able to play staccato.

How is it that the reed can be perfect for one person and absolutely
feel wrong (strange) for another?
When I try a reed of another oboist I can find it good and easy to play
on, it can feel even better than my own reeds. But after playing on the
reed for even less than one minute I can feel it's not mine and it's not
so comfortable and my embouchure can't recognize it. Of course, I can
adapt very easyily to it by playing on it for at least an hour. In general
I want to feel safe and secure on the reed.
I know my own reeds better and what to expect from them, which is
difficult with an unknown reed.

I always listen to the tips from other oboists and try many different
ways, but in the end I create the reed which fits me the best. I'm
careful with changes and am always aware of what I do, in case it
d e n work and I will have to go back to my own way of making
reeds.

During writing this thesis I have tried and experimented with a new
way of making reeds. At the moment I'm studying at the Royal Danish
Academy of Music in Copenhagen and the oboists here are using a
different way of reed making. One of my teachers Joakim Dam
Thomsen showed me his way of making reeds, which is different from

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what I'm used to. Just to try it I've made some reeds following this
ne a . I ed he Ame ican cane called ARG i h he 10-
10,5mm diameter of the tube. Than I gouged it around 58-57/100mm,
it must be less than 60/100mm, but not 55/100mm otherwise it's too
thin.

The ha e i n mbe 14 Ch i h Ha mann ha e, i ' a bi

wider from what I'm used to. I tye the reed up to 74mm long on the
Albrecht Mayer new staple 47 mm and cut the reed at 72mm. The way
of scraping is also not the same. Here I was more concentrated on the
tip of the reed. It has to be thinner and clearer, which gives the reed
more vibration. I didn't need to be so concentrated on scraping much
of the sides of the reed.

It was interesting to work with a new way of making reeds. I found

some new tips for myself. First of all, the diameter of the tube cane. In
the future I would like to order some of the Rigotti cane with the 10-
10,5mm diameter. It will make my reeds not so open and more
comfortable to play on directly, without waiting until the reed
becomes flatter and easier to play on. My second thought is to make
the scraping more smooth with a thinner tip of the reed.

In general I will still continue with my own way of making reeds.

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7. My own reed experiences
One day it feels like I succeed and have the concert reed, and the week
after the reed has lost the vibrations and I am not happy with it. How
to handle and control my own reeds?

Reeds have a tendency to change. Humidity is dangerous for the

reeds. They can change in a good and bad way.

From my own experience, I can say that the reeds depend on many
things, from the moment I gouge the cane and how much time I soak
it before I start gouging until I actually scrape the reed. I should do all
the steps and measurements very carefully.

When I have a new reed, if I play on it for a while, I get to know it and
I can discover what to use it for. I can decide if it will become a
concert reed or just a practice reed. Often a new reed is very heavy in
the beginning; it is better not to scrape it too fast and make it sound
perfect directly. By making some small adjustments every day on my
reed I can control it be e . If a a ic la eed d e n k and i
not changing than I just leave it in the box and forget it for a while.
Perhaps one day I could find that I have an amazing reed!

I try to make reeds regularly and prepare them in advance. That makes
me feel less stressed and I always have some reeds to play on. I can
take a bit of the cane the day before or the same day of the concert
instead of over scrape it.
Practicing on heavy reeds makes my embouchure stronger and gives
me the possibility to sustain any long solo performance. But I have to
be careful to not be tense while I play on heavy reeds. It has a
tendency to destroy my embouchure if it's too heavy and hard to play
on.
I have learned from other oboists not only good points, but the bad
experiences as well. By imitating I have saved some time and I found
that it is a very effective way of learning the reed making process.

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8. Conclusion

In the end, all oboe players find their own way which works for them.
After many years I can say I found my way.

For a long time I've tried to make the perfect reed, but there is no limit
to perfection! So I'm still open and trying new things all the time!

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9. Literature

1. I. P hechnik A f la ing he b e , S . Pe e b g 2005

2. V.P. Ve el Making eed f he b e , St. Petersburg 1987

1I. Pushechnikov 2005

2V.P. Veselov 1987

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