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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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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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Play more, practice less, find happiness.

I spent a lot of my youth practicing just enough to get by. I played oboe and I progressed fast without a lot of effort. I liked that – it gave me time to do many important things, like hanging around with my friends.

Even with all that free time, I got really, really good really, really fast. Maybe too fast. There was little challenge. No struggle to get better. It just came to me. Senior year in High School I was looking at a fat envelope from my first choice school. A scholarship to music conservatory. Let’s just say the transition from High School to College was not an easy one.

In the big leagues, no effort equals no results. If you knew me in those early college years, you’d know to look for me in the school practice rooms. Turns out I wasn’t a prodigy. It would have been a lot easier that way. I was scared. I had bitten off a lot, and was choking on it – I could feel the dream of playing in a major orchestra slipping away before I even got a chance to mess up an audition.

So I practiced. And practiced and practiced and practiced. It worked just a little at first. Not fast enough to keep up, but enough to keep me going. Weeks went by.  I began to find hard to play musical passages easier. More practice: new sounds came under my control. More and more practice: I could play in tune, with nice tone, for much longer. Something happened. It started feeling less like practicing and more like playing. Less like work and more like fun.  That subtle wink when it shifted from practice to play is hidden somewhere in my memory and I can’t recall the point exactly, much as I try. If you’re in the middle of it, right where you belong, it passes by in a flash, and the moment shifts to the next and the next. It’s beautiful.

My Dad once asked me “what’s the most important thing in life” and I was all over the road with my answer. Success? Friendship? Love? Patience? Achievement?  He shook his head, smiled, and said: “Happiness.”

I was finding happiness in the results of my struggles back then. And as I gain experience, I can tell you that I also find it in the struggle itself.

There is no reason to practice if you don’t want to get better.  And I think we do, all, truly want to get better – be better. There is no way to get truly, deeply better without effort. As a musician, it’s the effort that comes from you, alone in a practice room.

I wasn’t sure my Dad had it right at the time. I believe him now. Practice as though your happiness depends upon it. The rest will come.