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Choosing the Right Double Reed Instrument: A Guide for Players and Parents

When you or your child are in the market for an oboe or bassoon – here’s some insight into what to look for and how to test an instrument before making a decision. This guide is here to help you navigate the process with confidence.

Key Considerations Before You Begin

– Budget: Set a budget that includes both the cost of the instrument and the accessories you might need with the purchase of an instrument such as a reedcase, a new swab, or a new case or case cover.
– Skill Level: Inquire as to whether an instrument is for a beginner, intermediate, or advanced player.
– Personal Preference: This is a deeply personal choice. What feels and sounds right to you will depend on your goals and skill level.

Attributes to look for as you test play an instrument

Sound Quality
Clarity: Does the instrument produce a clear, resonant sound?
Tone: Is the tone warm and consistent across all registers?
Projection: Does the sound carry well in different settings?

Ease of Play
Response: How easily does the instrument respond to breath and finger movements?
Intonation: Does the instrument stay in tune across its range?
Comfort: Is the key action smooth, and does the instrument feel comfortable to hold?

Build Quality
Materials: Consider the quality of the wood or synthetic materials used.
Craftsmanship: Look for smooth, well-finished surfaces and precise key mechanisms.
Durability: Consider the reputation of the brand for long-lasting instruments.

Aesthetics
Appearance: Does the instrument look visually appealing to you?
Finish: Is the finish smooth, even, and free from blemishes?

Value
Is the brand well known?
Does this brand retain its value over time?

How to Test the Instrument

Warm-Up:
Spend a few minutes getting comfortable with the instrument. Play some long tones and scales to start.

Test the Range:
Play notes across the entire range of the instrument, from the lowest to the highest notes.
Listen for consistency in tone and intonation across the range.

Dynamics:
Try playing at different volumes—soft, medium, and loud.
Notice how the instrument responds and whether it maintains a good sound quality at all dynamic levels.

Articulation:
Test different types of articulation (staccato, legato, etc.).
Check for clarity and ease in executing each articulation.

Play a Piece:
If possible, play a piece of music you’re familiar with.
This helps you assess how the instrument handles more complex passages and transitions.

Sample Graph: Comparing Instrument Attributes

Note: The ratings are just an example. Use this as a model or template to rate your own findings.

Attribute  Instrument A Instrument B Instrument C
Sound Quality ⭐⭐⭐⭐⭐ ⭐⭐ ⭐⭐
Ease of Play ⭐⭐⭐ ⭐⭐⭐⭐⭐ ⭐⭐⭐⭐
Build Quality ⭐⭐⭐ ⭐⭐⭐⭐ ⭐⭐⭐
Aesthetics ⭐⭐⭐⭐ ⭐⭐⭐⭐⭐ ⭐
Overall Rating ⭐⭐⭐⭐ ⭐⭐⭐⭐ ⭐⭐

 

 

Final Thoughts: Trust Your Instincts

Choosing a double reed instrument is a personal decision. While these guidelines are here to help, the most important factor is how the instrument feels and sounds to you. Take your time, try out several instruments, and choose the one that feels like the best fit.

Remember, the right instrument can inspire years of musical growth and enjoyment, so make sure it’s one you will love playing!

Good luck with your selection! If you have any questions or need further guidance, feel free to reach out to us or your instructor.

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What to Expect as a Double Reed Player Minoring in Music in College

oboe and bassoon reedsa

For Students and Parents Alike

When a student heads off to college as a double reed player—whether oboe or bassoon—it’s often the result of years of dedication. For some, music remains a calling even if it doesn’t become their career path. That’s where the music minor comes in: it offers the opportunity to keep playing, improving, and performing without the full academic load of a music major.

But what does that actually look like in real life? Whether you’re a student making this decision or a parent supporting from the sidelines, here’s a clear, encouraging look at what to expect.

The Basics of the Music Minor (And What Sets It Apart)

Every college shapes its music minor differently, but there are common elements across most programs:

  • Private Lessons: Expect weekly one-on-one lessons (usually for credit) with a faculty member or graduate student instructor. Double reed players are often taught by experienced professionals who also perform in regional orchestras.

  • Ensemble Participation: Most minors are required to participate in at least one large ensemble—concert band, wind ensemble, or orchestra.

  • Core Music Classes: These often include:

    • Music Theory

    • Ear Training (Aural Skills)

    • Music History or Appreciation

“I was a biology major with a music minor. I loved walking into rehearsal after a full day of lab work—it kept me grounded and connected to my creative side.” —Jenna, former oboist and music minor at University of Vermont

What’s Different for a Double Reed Player?

Double reed players—especially oboists and bassoonists—face some unique considerations:

  • Reed Making: Most college programs expect or encourage oboists and bassoonists to make or adjust their own reeds. This might involve access to a reed room or studio space, and often requires purchasing additional tools.

  • Faculty Attention: Because double reed players are rare, you may get more personal attention, including opportunities for chamber music, masterclasses, and leadership in ensembles.

  • Instrument Demands: It’s important to enter college with a well-maintained, professional or semi-professional instrument. Repairs and upkeep should be budgeted for, especially if your child is still playing on a high school model.

“I remember a parent asking me, ‘Do they really need all those reed tools?’ The answer is yes. It’s part of becoming a self-sufficient double reed player.” —Brian Charles, reed maker and double reed specialist

What Parents Should Know

  • Time Commitment: A music minor is a real commitment. Students should plan for:

    • 1–2 hours of practice per day

    • Weekly rehearsals (sometimes more during concert season)

    • Lesson preparation and reed work

  • Reed Supplies: These can add up. Budget $30–$75/month for cane, staples, thread, tools, and/or finished reeds.

  • Support Matters: College is a transition. Students used to private lesson attention and teacher encouragement may suddenly be navigating more independence. A little check-in from home, asking, “How’s music going?” can go a long way.

Opportunities to Grow (Without Major-Level Pressure)

Being a minor means having the chance to:

  • Continue performing at a high level

  • Explore music history or theory without an overwhelming course load

  • Join chamber groups or special projects

  • Stay connected to music while focusing academically elsewhere

It also means that music remains a joy, not a burden. Many students report that playing their instrument provides a welcome balance to the rest of their college workload.

“I’m so glad I didn’t drop music in college. I met some of my best friends in the wind ensemble, and playing oboe helped me feel like myself.” —Ethan, environmental science major, oboe minor at UMass Amherst

Final Thoughts

Choosing to minor in music as a double reed player is a meaningful choice. It signals a desire to keep growing as a musician, even while exploring other academic paths. For oboists and bassoonists especially, the community is small but tight-knit—and full of rich musical experiences.

For students: Stay organized, communicate with your instructors, and don’t be afraid to ask for help with reeds or time management.

For parents: Encourage your child’s passion. Double reed life in college isn’t always easy—but it’s deeply rewarding.

Thinking of pursuing a music minor on oboe or bassoon? Make sure you reach out to the music department early, inquire about reed-making facilities, and explore the ensemble opportunities available. You’ll be glad you did.

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Treasure Oboe Reeds

Logan Baker
Treasure Reed Maker

We’re honored to feature Treasure Oboe Reeds on our website. Logan is an active double reed maker, performer, and teacher. A long-time Montana resident, Logan established Treasure State Reeds in the Spring of 2022. Logan stays very busy making high quality double reeds and teaching private lessons.

Logan attended the University of Montana, where he studied reed-making, pedagogy performance, auditions, and ensemble playing. He teaches both oboe and bassoon (a rare combo) and his students have achieved many successes. In teaching, he emphasizes reed making, performance, chamber ensembles, music theory, aural training, and career/college pursuits.

As a performer, Logan is active in four professional orchestras in Montana and serves on sub lists for two more. In orchestra, and in solo ventures, he performs on oboe, oboe d’amore, English horn, bassoon and contra bassoon!

He now resides in Phoenix, AZ pursuing advanced job and school opportunities.

Details about Treasure Oboe Reeds Our Website

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Telos Oboe and English Horn Reeds

Edino Biaggi
Telos Reed Maker

We’re honored to feature Telos Oboe Reeds and Telos English Horn Reeds on our website. Edino Biaggi, the grand-nephew of the famous Argentinean Tango composer, pianist, and bandleader Rodolfo “Manos Brujas” Biaggi, embarked on his musical journey at the tender age of six.

This early start laid the foundation for a remarkable career as a distinguished oboist and educator. Edino’s exceptional talent has graced numerous prestigious concert halls and international tours, garnering him prestigious awards and accolades along the way.

Edino’s dedication to his craft led him to earn full scholarships to study under renowned oboe teachers Alex Klein and Humbert Lucarelli in Chicago and New York City. He later served as oboe faculty at two esteemed New York City universities, Queens and Brooklyn Colleges.

In addition to his prowess as a performer, Edino is also a skilled reed maker, overseeing a successful woodwind supply business. His innovative approach to reed making allows him to handcraft over 4,000 reeds annually, setting him apart as a true professional in his field.

Recognizing Edino’s exceptional talent, the United States Department of Homeland Security granted him his Green Card and U.S. citizenship solely based on his musical abilities, a feat that is both challenging and uncommon. Today, he maintains a busy schedule as a highly sought-after soloist, respected oboe mentor, and successful entrepreneur in the woodwind supply industry.

Details about Telos Oboe Reeds and Telos English Horn Reeds

 

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Sequoyah Oboe and English Horn Reeds

Theresa Delaplain
Sequoyah Reed Maker

We’re honored to feature Sequoyah Oboe Reeds and Sequoyah English Horn Reeds on our website. Theresa Delaplain has had an admirable career as an oboist and pedagogue. She has performed as soloist with the Fort Smith Symphony, the North Arkansas Symphony, the Arkansas Philharmonic, the Thai National Orchestra, and the University of Arkansas Symphony Orchestra, Wind Symphony, and Chamber Orchestra.

Delaplain is oboist with the Lyrique Quintette and serves as Principal Oboist for the Fort Smith Symphony and the Arkansas Philharmonic.

She is on the Arkansas Arts Council’s Arts on Tour roster as oboist with the Lyrique Quintette. The quintet has toured Spain, Germany, Thailand, Canada, and throughout the United States, giving formal concerts, school concerts, master classes, clinics, and workshops. The quintet released its Arrivals and Departures: Music of the Americas album on the Mark Classic label.

Delaplain has appeared at several International Double Reed Society Conventions, and she was a guest recitalist at the Southwest Contemporary Music Festival and Conference, in addition to performing at the College Music Society National and Regional Conventions.

She recently released an album, Souvenirs, with pianist Tomoko Kashiwagi on the MSR Classics label. Her YouTube channel about oboe reedmaking, “Something to Crow About,” (https://www.youtube.com/@somethingtocrowabout1408) has been viewed by thousands of oboe reedmakers, and her book, “My Kingdom for a Reed!” is a favorite among teachers and students.

She has just been announced as the second prize recipient in The American Prize in Instrument Performance Competition for 2024-2025 

Dr. Delaplain teaches oboe and music theory at the University of Arkansas. She holds degrees from the University of Cincinnati College-Conservatory of Music, Bowling Green State University, and the University of Michigan. She is a Lorée Artist, and is the owner of Edmund Nielsen Woodwinds.

Details about Sequoyah Oboe Reeds and Sequoyah English Horn Reeds On Our Website

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RK Bassoon Reeds

Richard Kandetski
RK Reed Maker

We’re honored to feature RK Red Bassoon Reeds, RK Teal Bassoon Reeds, and RK Red Bassoon Reeds On Our Website. Mr. Kandetzki, maker of all three styles of RK reeds that we stock, knew he wanted to play a musical instrument by the age of five! Recorder came first and by junior high school he was taking flute lessons.

In his first year of high school, as one of 20 flutists in the school orchestra, he made the excellent decision to switch to bassoon. Living near New York City at that time, Richard was privileged to have Joyce Kelly, NY City Opera principal bassoonist, as his primary teacher.

Prior to high school graduation, he began working for Jack Spratt Music Publishing in Old Greenwich, Connecticut. This venerable store was one of the few places in the US that specialized in cane, tools, supplies, and sheet music for double reeds. Besides filling stock and sending mail orders, he made all the bassoon and oboe reeds that were shipped out to customers. This amounted to perhaps thousands of reeds! He continued to work at Jack Spratt’s during summers between university semesters.

Gaining acceptance at The New England Conservatory of Music, he studied with Boston Symphony principal bassoonist Sherman Walt and Richard Plaster, Boston Symphony’s contra bassoonist.

Mr. Kandetzki’s performance credits include contra bassoonist with the Orquestra Sinfônica do Estado de São Paulo, Brazil (under Eleazar de Carvalho) and ten years as principal bassoon of the Ridgefield, Conn. Symphony. He has performed with the American Philharmonic at Lincoln Center, the Greenwich Symphony Orchestra, the Norwalk Symphony Orchestra, and the Manchester Symphony Orchestra, along with numerous chamber ensembles in New York, Massachusetts, and Connecticut.

He was a founding member of the Blackledge Woodwind Quintet and a member of the “Musical Friends” chamber group, both based in the Hartford, Connecticut area.

For a span of 10-15 years, he set the bassoon aside to concentrate on a career in software development and to raise his family.

After that successful career in software development, he returned to playing the instrument, and returned to making reeds, first for himself and then for others.

Retired from the corporate world, Mr. Kandetzki now lives in Brazil and continues his love of reed making.

Details about

RK Red Bassoon, RK Teal Bassoon, and RK Red Bassoon On Our Website