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A double reed [1] is a type of reed used to produce sound in various wind instruments.In contrast with a single reed instrument, where the instrument is played by channeling air against one piece of cane which vibrates against the mouthpiece and creates a sound, a double reed features two pieces of cane vibrating against each other.
A double reed is mounted inside a long windcap. Blowing through a slot in the windcap produces a musical note. The pitch of the note can be varied by opening or closing finger holes along the length of the pipe. One unusual feature of the crumhorn is its shape; the end is bent upwards in a curve resembling the letter 'J'.
Reed contrabass/Contrabass à anche; Rhaita (North Africa) Rothphone; Sarrusophone (but often played with single reed mouthpiece) Shawm (Schalmei) Sopilas (Croatia) Sornas (Persia) Suona (China) Surnayers (Iran) Taepyeongso (Korea) Tárogatós (Hungary; up to about the 18th century) Tromboon; Trompeta china (Cuba) Zurla (Macedonia) Zurna
By contrast, the crumhorn (also known by names including crum horn, crumm horn, Krummhorn, Krummpfeife, Kumbhorn, cornamuto torto, and piva torto) is a capped double-reed instrument usually shaped like a letter "J" and possessing a rather small melodic range spanning a ninth (i.e. just over an octave) unless extended downward by keys or by the technique of underblowing, which increases the ...
Double-reed instrument stubs (56 P) Pages in category "Double-reed instruments" The following 25 pages are in this category, out of 25 total.
While "duduk" most commonly refers to the double reed instrument described on this page, there is a very similar instrument played in northwestern Bulgaria. This is a blocked-end flute known as a kaval , resembling the Serbian frula , or kavalče in a part of Macedonia, [ 22 ] and as duduk in northwest Bulgaria.
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The cornamuse is a double reed instrument dating from the Renaissance period. [1] It is similar to the crumhorn in having a windcap over the reed and cylindrical bore. The only evidence for the cornamuse comes from a description and a few comments by Michael Praetorius in Syntagma musicum II, published in 1619.