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The reed has a significant effect on the sound. Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch. German and French reeds, for instance, differ in many ways, causing the sound to vary accordingly.
The glissando illusion is an auditory illusion, created when a sound with a fixed pitch, such as a synthesized oboe tone, is played together with a sine wave gliding up and down in pitch, and they are both switched back and forth between stereo loudspeakers. The effect is that the oboe is heard as switching between loudspeakers while the sine ...
An offstage instrument or choir part in classical music is a sound effect used in orchestral and opera which is created by having one or more instrumentalists (trumpet players, also called an "offstage trumpet call", horn players, woodwind players, percussionists, other instrumentalists) from a symphony orchestra or opera orchestra play a note, melody, or rhythm from behind the stage, or ...
The shehnai, is a type of oboe originating from the Indian subcontinent. [1] It is made of wood, with a double reed at one end and a metal or wooden flared bell at the other end. [2] [3] [4] It was one of the nine instruments found in the royal court. The shehnai is similar to South India's nadaswaram.
Contemporary bombards may have sophisticated keywork, resulting in fully chromatic instruments. Milder versions tending to a romantic-era oboe sound such as Youenn Le Bihan's "pistoñ" (a baroque oboe/bombard hybrid) have been developed for use in mixed ensembles, resulting in completely new sounds and realms of expression.
The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata Wie wunderbar ist Gottes Güt (1717). Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the Et in Spiritum sanctum movement of his Mass in B minor—for the instrument.