Sample Pages

2021

Experience the unparalleled detail of our layout, design, and instruction.

The Illustrated Encyclopedia Of Oboe Reedmaking, Volume 1 contains over 338 color illustrations and photographs of the reedmaking process, 222 pages of text and information on reedmaking; an index, footnotes, glossary, list of illustrations, and list of tables. The book is printed in the USA on 80#, acid-free, matte paper.
Foreword It is with great pleasure that I recommend this fascinating and informative guide to reed-making written by my friend and colleague Ann Rosandich. Our friendship began nearly twenty years ago while we were both students at Boston University and happened to sit next to each other in a student orchestra. I still remember how impressed I was by Ann’s beautiful playing, particularly by the expressive timbre of her sound. In the course of our friendship we have enjoyed many spirited debates on numerous subjects as we discussed everything from arts to politics and have ardently agreed and disagreed on many things. Since our student days we have naturally continued to form our individual opinions on a number of issues, including the art of reed-making. With this book Ann has fully embraced her personality as she approaches important aspects of reed-making with a wonderful sense of structure and logic along with her natural sense of musicality and a fine ear for tone. I believe it is because of this unique combination of qualities that Ann Rosandich has been able to create this constructive guide based on her principles and extensive experience with the vast world of reed-making. Because of the great variations in people’s preferences of tone, embouchure, equipment, and the quality of cane, it would be unwise to present any given method as “the one and only way.” In fact, what I find appealing about this book is its versatility and simplicity. Not everything in this book will be suitable for everyone, but I think every aspiring oboist can find something useful here that would bring him or her an enhanced sense of clarity, control, and understanding of many intricate details involved in the process of reed-making. Finally, it is important to remember that making good reeds is not the end goal in itself — it is a part of a much larger process of developing as a musician. While finding the right balance between artistry and technology remains a daily challenge for all oboists, I congratulate Ann Rosandich on making a valuable contribution to oboe players of various levels of skill and professional aspirations and I wish her readers many happy moments and discoveries in front of the reed desk in search of the right reed! Eugene Izotov  Principal Oboe  Chicago Symphony Orchestra

Foreword by Eugene Izotov, Principal Oboe San Francisco Symphony Orchestra

Contents Foreword Preface Illustrations And Photographs Tables Introduction Where To Begin Tools And Supplies The Reedknife Measurement And Gaging Measurement Tools Calibration And Accuracy Parallax Measurement Consistency Soaking, Wetting, Dipping, Dry? Biomechanics And Reedmaking The Workspace Angles, Leverage, And Load Types Of Leverage Distribute The Load The Grip Focal Point Proprioception Ergonomic Magic The Chair And Posture Graphics, Text, And Symbols Pitch Notation Lesson 1 • Knife Sharpening And Scraping Part 1 • The Reedknife And Sharpening Knife Anatomy Three Sharpening Principles Compare Sharpening Equipment Two Tests To Determine If Your Knife Is Sharp The Thumbnail Test The Bright Light Test “Sharpening” With Ceramic Honing Rods Edge Maintenance Of The Wedge Or Double–Hollow Ground Blade Working A Bit Harder For The Edge Review Of Sharpening Principles Part 2 • Preparing The Reed Blank For Scraping Reed Anatomy 101 Removing The Ears Of The Reed Blank Sanding The Ears Of The Reed Blank Reed Anatomy 102 Part 3 • Scraping With A Reedknife Holding The Reed And Reedknife Scraping AnglesScraping Motions Scraping Strategy Part 4 • Scraping Day 1 • The “UU Shape” Clipping The Reed Blank: Three Options Review Of Lesson 1 Code Black Next Step Lesson 2 • Steeling And Scraping Part 1 • Background And Preparation Clipping The Reed The Overlap Inserting The Plaque And Verifying The Overlap Part 2 • The Sharp Knife Controlling The Reedknife’s Edge With The Steel Part 3 • Scraping The Reed • Day 2 Reed Anatomy 201 Scraping With The Plaque Review Of Lesson 2 Code Blue Code Black The Next Step Lesson 3 • Finishing And Adjusting The Reed Part 1 • Understanding Your Reed Attributes Of A “Good Reed” Analyzing Your Reed Reed Evaluation Tools Aural Tests Visual Tests Tactile Tests Part 2 • Reed Classification, Adjustment Techniques, And The Crow Crowing Anatomy 301 Part 3 • Scraping The Reed Day 3 • Reed Adjustment Reed Adjustment Of Two Traits Reed Adjustment Of One Trait Adjusting The Reed’s Tone And Dynamic Range Code Blue Code Black The Next Step Lesson 4 • Tying The Reed Part 1 • Tying Essentials Oboe Staples Measurements And Tying Selecting Shaped Cane Seating The Shaped Cane On The Tube The Importance Of The Mandrel The Overlap Review Of Part 1 Part 2 • Tying The Reed Blank The Hook: Your Third Hand Tying The Reed Blank — Preparation Tying The Reed Blank Two Ways To Cross Over When Tying Tying The Knot Review Of Lesson 4 Code Blue Code Black The Next Step Lesson 5 • Shaping The Cane Part 1 • Cane Selection And Preparation For Shaping Assessing The Gouged Cane Preparing The Gouged Cane For Shaping Part 2 • Shaping The Cane Review Of Lesson 5 Code Black The Next Step Lesson 6 • Gouging The Cane Part 1 • Preparation Purchasing And Selecting Tube Cane Preparation Of Tube Cane For Gouging Part 2 • The Gouging Machine And Process Gouging On A Double‑Radius Machine Gouger Care And Maintenance Gouging Machine Repair And Adjustment Review Of Lesson 6 Code Blue Code Black The Next Step Lesson 7 • Reedmaking For Non‑Reedmakers Why You Need To Know Something About Oboe Reeds Purchase Or Make Reeds? Reed Evaluation: Tests And Questions Review Of Lesson 7 Code Black And Blue The Next Step Lesson 8 • Sharpening Freehand With Bench Stones Sharpening With Bench Stones Edge Maintenance With Fine India® Reducing Edge Bevel Angles Sharpening The Chisel Grind Honing With Hard Arkansas Review Of Lesson 8 Code Blue Glossary Of Tools, Supplies, And Equipment Index
Table Of Contents
To use the micrometer: Hold the cane between the anvil and spindle. Tighten the spindle using light finger pressure on the thimble. Do not crush the cane. Read the number on the barrel followed by the number on the thimble. Add the two together. For example, when measuring shaped cane, the barrel will read 0 mm. The second number — on the thimble — will be either 0.45 mm (± 0.01 mm) for the sides of the cane, or 0.60 mm (± 0.01 mm) for the centerline of the cane. In the first case, add 0 mm plus 0.45 mm. Your cane is 0.45 mm thick in that spot. In the latter case, add 0 mm plus 0.60 mm, and the thickness of your gouge is 0.60 mm. Thickness Gage (Dial Indicator), Metric. The thickness gage is the most sensitive measuring tool of the four (Fig. 4). Through precision gear train mechanism and lever action, small dimensions — like variations in gouged cane — become “visible.” This is a pricier, quicker, and generally more precise tool to measure aspects of gouged and shaped cane than the handheld micrometer. The spring tension of the dial indicator may be more accurate than your finger pressure tightening the micrometer’s thimble. The gage uniquely measures the thickness of the blades of finished oboe reeds or reeds in progress. By inserting the anvil into a clipped reed, the gage may act as a tube thickness gage — measuring the thickness of each blade (see figure 5). The thickness gage in figure 4 consists of the dial indicator and anvil mounted on a stand. The dial’s face is approximately 40 mm in diameter. The 27 mm long anvil is mounted below the contact point (located at the end of the spindle), parallel to (II) the base of the stand. Pressing the spring‑loaded lever on the dial raises the spindle. The reed or cane is inserted between the raised contact point and the anvil. When the lever is released, the contact point contacts the object, and the measurement is read on the dial’s face. The thickness gage measures objects with thicknesses ranging from 0.01–5 mm, in 0.01 mm graduations. In order for a dial indicator gage to work effectively, the cane or reed must be held against the anvil parallel to (II) the base of the stand. Do not exert upward pressure against the spindle, or you will get a false reading — the reading will be too large.

Sample Page: Measurement And Gaging

Illustrations And Photographs Fig. 1 • 6–Inch Machinists’ Steel Ruler Fig. 2 • Vernier Caliper With Beveled Jaws And Automatic Thumb Lock Fig. 3 • Metric Micrometer Fig. 4 • Dial Indicator As Thickness Gage Fig. 5 • Dial Indicator As Tube Thickness Gage Fig. 6 • My Workshop Fig. 7 • Leverage And The Guillotine Fig. 8 • Acute Angle Fig. 9 • Obtuse Angle Fig. 10 • Perpendicular ()  Fig. 11 • Parallel (II) Fig. 12 • Diameter And RadiusFig. 13 • Pitch Notation Fig. 1.1 • Reed Blank Fig. 1.2 • Blade Parts 1 Fig. 1.3 • Knife And Blade Parts 2 Fig. 1.4 • Three Blade Profiles And Their Edge Angles Fig. 1.5 • Ceramic Honing Rods — Lansky 4–Rod Turnbox Crock Stick Sharpener® Fig. 1.6 • Sharpening Challenges With A Bench Stone Fig. 1.7 • Accurate Sharpening With Ceramic Honing Rods Fig. 1.8 • Testing Edge Sharpness With The Thumbnail Fig. 1.9 • Checking Edge Sharpness With Bright Light Fig. 1.10 • Locating Dull Portions Of The Edge By Eye Fig. 1.11 • Edge Maintenance With Honing Rods — The 3 Strokes Fig. 1.12 • An Additional Sharpening Step Fig. 1.13 • Inaccurate Sharpening With Honing Rods Fig. 1.14 • The Two Steps In Removing The Reed Blank’s Ears Fig. 1.15 • Reed Anatomy 101 A — Ears, Bark, And Overlap Fig. 1.16 • Reed Anatomy 101 B — Fold, Blades, And Sides Fig. 1.17 • Removing The Ears With A Wedge Knife Fig. 1.18 • Removing The Ears With A Single Bevel Knife Fig. 1.19 • Correct Sanding Of The Ears Fig. 1.20 • Incorrect Sanding Of The Ears Fig. 1.21 • Targeted Sanding Of The Ears And The Hidden Blade Fig. 1.22 • Reed Anatomy 103 A — Tip, Heart, Back, And Corners Fig. 1.23 • Reed Anatomy 103 B — Spine, Rails, And Channels Fig. 1.24 • A Straight Edge On A Curved Surface Fig. 1.25 • The Functions Of The Thumbs And Index Finger During Scraping Fig. 1.26 • Holding The Reed And Reedknife Fig. 1.27 • Scraping Angles — Blade And Thumb Movement Fig. 1.28 • The Reedknife And Scraping Motions Fig. 1.29 • The Planing Stroke Fig. 1.30 • Scraping Strategy Fig. 1.31 • Inserting The Mandrel Fig. 1.32 • Scraping Highway Fig. 1.33 • Scraping The Tip Of The Reed Blank — Step 1 Fig. 1.34 • Scraping The Tip Of The Reed Blank — Step 2 Fig. 1.35 • Scraping The Tip Of The Reed Blank — Step 3 Fig. 1.36 • The Tip Of The Reed Blank Scraped Fig. 1.37 • Scraping The Heart Of The Reed Blank Fig. 1.38 • Scraping The Back Of The Reed Blank Fig. 1.39 • Reed Blank With The UU Shape Scraped Fig. 1.40 • Removing The Catch 1 — Diagonal Scraping In One Direction Fig. 1.41 • Removing The Catch 2 — Diagonal Scraping In The Opposite Direction Fig. 1.42 • Viewing The Scraped Reed Blank From The Tip Fig. 1.43 • Reed Blank Profiles Fig. 1.44 • Reed Blank — Ears Overfiled Fig. 1.45 • Reed Blank — Incorrect Area Scraped — The U Shape Fig. 1.46 • Reed Blank — Correct Area Scraped — The UU Shape Fig. 2.1 • Scraped Reed — Day 2 Fig. 2.2 • Metal Plaques Fig. 2.3 • The Utility Knife And Cutting Block Fig. 2.4 • The Two Clipping Angles Fig. 2.5 • The Clipping Motion Fig. 2.6 • Compare The Reed Blank’s Total And Clipped Lengths Fig. 2.7 • Wetting The Scraped Reed Blank Fig. 2.8 • Areas To Thin Before Clipping The Reed Blank Fig. 2.9 • Rewetting The Reed Blank Prior To Clipping Fig. 2.10 • Clipping The Reed — 5 Steps Fig. 2.11 • Measuring The Clipped Reed’s Length With The Caliper Fig. 2.12 • Measuring The Clipped Reed’s Length With The Steel Ruler Fig. 2.13 • Compare Two Views Of The Clipped Reed Blank Fig. 2.14 • The Correct Overlaps Fig. 2.15 • Incorrect Overlaps Fig. 2.16 • Inserting The Plaque Through The Top of the Reed Fig. 2.17 • Inserting The Plaque From The Side of the Reed — Step 1 Fig. 2.18 • Inserting The Plaque From The Side of the Reed — Step 2 Fig. 2.19 • Setting The Overlap — Steps 1–3 Fig. 2.20 • The Parts Of The Sharpening Steel Fig. 2.21 • The Steel Opened To 35° Fig. 2.22 • Steeling The Reedknife — Step 1 Fig. 2.23 • Steeling The Reedknife — Step 2 Fig. 2.24 • The Clock Face Fig. 2.25 • Steeling The Reedknife — Step 3 Fig. 2.26 • Correct Graduation Or Blend Fig. 2.27 • Profile Of Collar At Front Of Heart Fig. 2.28 • Reed Anatomy 201 Fig. 2.29 • Scraping Measurements Fig. 2.30 • Dip The Reed In Water Before Scraping Fig. 2.31 • Thinning The Front Of The Tip Fig. 2.32 • The Half Moon Shape Fig. 2.33 • Mark The Tip And Base Of The Triangle (∆) Fig. 2.34 • Scraping The Tip — Demarcating The “ ” Fig. 2.35 • Scraping The Back Of The Reed Fig. 2.36 • Scraping The Tip Of The Tip Fig. 2.37 • Scraping The Upper Back Fig. 2.38 • Scraping The Heart Fig. 2.39 • The Collar Fig. 2.40 • Integrating The Heart With The Back Of The Reed Fig. 2.41 • Scraping Template Fig. 2.42 • Sighting Down The Scraped Reed — Day 2 Fig. 2.43 • Review Of Scraping — Day 1 Fig. 2.44 • Review Of Scraping — Day 2 Fig. 3.1 • Finished Reed — Day 3 Fig. 3.2 • The Chromatic Tuner1 Fig. 3.3 • The Crow And Clef1 Fig. 3.4 • The Toot And Clef1 Fig. 3.5 • Backlighting The Reed1 Fig. 3.6 • Finished Reed Profile1 Fig. 3.7 • Examine The Reed’s Opening1 Fig. 3.8 • Integrating The Tip And Heart1 Fig. 3.9 • Checking Your Scraping With The Plaque1 Fig. 3.10 • Comparing The Curvature Of The Reed’s Two Blades1 Fig. 3.11 • Selecting The Weaker Blade Before Clipping1 Fig. 3.12 • Wetting The Reed Before Making An Adjustment1 Fig. 3.13 • Thinning The Tip In Profile1 Fig. 3.14 • Thinning The Front Of The Tip1 Fig. 3.15 • Scraping The Tip Of The Tip1 Fig. 3.16 • Scraping The Windows1 Fig. 3.17 • Scraping The Heart And Collar1 Fig. 3.18 • “Squashing” The Reed Using The Plaque1 Fig. 3.19 • Scraping The Lower Back Fig. 3.20 • Define The Tip/Blend () Fig. 3.21 • Scraping The Sides Of The Tip Fig. 4.1 • Work Desk With Tying Tools For Lesson 4 Fig. 4.2 • Solid Oak Table With Threaded Screw–Eye Hook Fig. 4.3 • Oboe Staple Or Tube Fig. 4.4 • Oboe Staple Damage Fig. 4.5 • Inspecting Tubes For Size And Condition Fig. 4.6 • Measuring The Thickness Of Shaped Cane With The Micrometer Fig. 4.7 • Measuring The Sides Of Shaped Cane With The Micrometer Fig. 4.8 • Measuring The Length Of The Staple With The Caliper Fig. 4.9 • Partial–And Total–Tie‑On Lengths For Shaped Cane Fig. 4.10 • Getting The Tie‑On Length Correct Fig. 4.11 • Correct Alignment — Side Fig. 4.12 • Incorrect Alignment — Side Fig. 4.13 • Correct Alignment — Front Fig. 4.14 • Incorrect Alignments — Front Fig. 4.15 • Correct Rotational Alignment — End Fig. 4.16 • Incorrect Rotational Alignment — End Fig. 4.17 • The Flat‑Handled Mandrel Fig. 4.18 • The Round‑Handled Mandrel Fig. 4.19 • The Two Overlaps Fig. 4.20 • Shaped Cane Soaking Fig. 4.21 • Waxing The Thread Fig. 4.22 • Burnishing The Ends Of Shaped Cane Fig. 4.23 • Burnished Cane Fig. 4.24 • Overlap The Cane With Your Fingers Fig. 4.25 • The Overlap Of A Tied Reed Blank Fig. 4.26 • Placing The Shaped Cane On The Tube With An Overlap Fig. 4.27 • Measuring Partial–Tie‑On Length Fig. 4.28 • Measuring Total–Tie‑On Length Fig. 4.29 • Begin Wrapping The Reed Blank Fig. 4.30 • The “Sideways V” ()  Fig. 4.31 • Rotating The Mandrel While Adjusting The Shaped Cane On The Tube Fig. 4.32 • Adjust The Cane On The Tube With Your Fingertips Fig. 4.33 • Rotate The Mandrel Toward Yourself — Closing The Reed Blank’s Sides Fig. 4.34 • Aligning The Cane From The Front Fig. 4.35 • Aligning The Cane From The End Fig. 4.36 • Verify That The Sides Of The Reed Blank Close Fig. 4.37 • The Sides Of The Reed Blank Close Fig. 4.38 • Compare The Preset Caliper To The Height Of The Winding Fig. 4.39 • Using The Caliper To Verify The Length Of The Tube  Fig. 4.40 • Tighten Both Ends Of The Thread Before Crossing Over Fig. 4.41 • Crossing The Thread Over On The Side Of The Reed Fig. 4.42 • Crossing The Thread Over On The Front Of The Reed Fig. 4.43 • Reversing The Direction Of The Winding Fig. 4.44 • Winding To The Bottom Of The Tube Fig. 4.45 • Begin Making The Loop Fig. 4.46 • Making The Loop 2 Fig. 4.47 • Making The Loop 3  Fig. 4.48 • Preparing To Insert The Reed Blank Through The Loop Fig. 4.49 • Begin To Put The Reed Blank Through The Loop Fig. 4.50 • Continue To Put The Reed Blank Through The Loop Fig. 4.51 • The Reed Blank Is Inserted Through The Loop Fig. 4.52 • Tightening The Knot Fig. 4.53 • Cutting The Two Strands Of Thread Fig. 5.1 • Work Desk With Shaping Tools For Lesson 5 Fig. 5.2 • Gouged Cane Soaking Fig. 5.3 • Metric Micrometer Fig. 5.4 • Check The Evenness Of Gouged Cane Fig. 5.5 • Examine The Profile Of The Gouged Cane Fig. 5.6 • Twisting The Cane Fig. 5.7 • Burnished Cane On Easel Fig. 5.8 • Beveling The Ends Of Gouged Cane On The Easel Fig. 5.9 • Scoring Gouged Cane On The Easel Fig. 5.10 • Folding Gouged Cane Over The Razor Blade — Step 1 Fig. 5.11 • Folding Gouged Cane Over The Razor Blade — Step 2 Fig. 5.12 • Cane Folded Over Single–Edge Razor Blade Fig. 5.13 • The Pinch Fig. 5.14 • Folded Cane Closes Correctly On The Sides Fig. 5.15 • Folded Cane Closes Incorrectly On The Sides Fig. 5.16 • Fitting Folded Cane To The Shaper Tip Fig. 5.17 • Trimming The Corners Of Folded Cane With A Single Bevel Blade Fig. 5.18 • Trimming The Corners Of Folded Cane With A Wedge Style Knife Fig. 5.19 • Comparison Of Folded Cane To The Shaper Tip Fig. 5.20 • Inserting The Shaper Tip Into The Shaper Handle Fig. 5.21 • Loosen The Knob On The Shaper Handle Fig. 5.22 • Place The Folded Cane On The Shaper Tip Fig. 5.23 • The Fold Of The Shaped Cane Flush With The Top Of The Shaper Tip Fig. 5.24 • Raise The Shaper Handle’s Jaws And Partially Tighten The Knob Fig. 5.25 • Alignment Of Shaped Cane On The Shaper Tip — A Comparison Fig. 5.26 • Center The Folded Cane On The Shaper Tip Fig. 5.27 • Tighten The Shaper Handle’s Knob Completely Fig. 5.28 • Shaping The Cane With A Single–Edge Razor Blade Fig. 5.29 • Finishing The Shaping Process With A Single–Edge Razor Blade Fig. 5.30 • Loosen The Shaper Handle’s Knob And Remove The Shaped Cane Fig. 6.1 • Work Desk With Gouging Tools For Lesson 6 Fig. 6.2 • Measuring Tube Cane With A Diameter Gage Fig. 6.3 • Optimize The Use Of Tube Cane Fig. 6.4 • Tube Cane Curvature And Reed Opening Fig. 6.5 • Measuring Tube Cane With A Caliper Fig. 6.6 • Tube Cane Soaking Fig. 6.7 • The Arrowhead Splitter Fig. 6.8 • Splitting Tube Cane With The Arrowhead Splitter Fig. 6.9 • Splitting Tube Cane With The Single–Edge Razor Blade Fig. 6.10 • Adjust The Length Of Guillotined Cane Fig. 6.11 • Split Cane Must Be Straight And True Fig. 6.12 • Use A Straight Edge To Select Sections Of Split Cane Fig. 6.13 • Split Cane Soaking Fig. 6.14 • Using The Guillotine — Steps 1–2 Fig. 6.15 • Using The Guillotine — Step 3 Fig. 6.16 • Using The Guillotine — Steps 4–5 Fig. 6.17 • Cutting Split Cane To Length Fig. 6.18 • Block Plane On Board Fig. 6.19 • The Block Plane And Board Fig. 6.20 • Guillotined Cane Soaking Fig. 6.21 • Using The Block Plane Fig. 6.22 • The Push–Through Pre‑Gouger Bed Fig. 6.23 • The Push–Through Pre‑Gouger Fig. 6.24 • Using The Push–Through Pre‑Gouger Fig. 6.25 • The Graf–Style Oboe Gouging Machine Fig. 6.26 • Gouger Blade, Guide Rod, And The Offset Fig. 6.27 • Soaking Planed Cane Fig. 6.28 • Trim The Ends Of The Planed Cane For The Double‑Radius Gouger Fig. 6.29 • Seating The Planed Cane In The Gouger Bed — Step 1 Fig. 6.30 • Seating The Planed Cane In The Gouger Bed — Step 2 Fig. 6.31 • Seating The Planed Cane In The Gouger Bed — Step 3 Fig. 6.32 • Lower The Carriage In The Center Of The Bed Fig. 6.33 • Begin Gouging With The Carriage In The Center Of The Bed Fig. 6.34 • Gouging The Cane In The Bed — Beginning The Stroke Fig. 6.35 • Gouging The Cane In The Bed — Finishing The Stroke Fig. 6.36 • Continue Gouging Fig. 6.37 • Return The Carriage To The Center Of The Guide Rod Fig. 6.38 • Rotate The Cane 180° In The Bed Fig. 6.39 • Using The Thickness Gage Fig. 6.40 • Oil The Gouging Blade Fig. 6.41 • Gouger Blade And Blade Guide Fig. 6.42 • Gouger Care — The Springs And Bumpers Fig. 7.1 • Cracked Reed — During Scraping, Soaking, Or Playing Fig. 7.2 • Cracked Reed — During Tying Fig. 7.3 • Leaking Reed Fig. 7.4 • Testing The Reed For Leaks Fig. 7.5 • Measuring The Reed’s Wrapping Length With A Steel Ruler Fig. 8.1 • Double–Hollow Ground Blade In A Sharpening Jig Fig. 8.2 • Bench Stone Sharpening — Step 1 Fig. 8.3 • Bench Stone Sharpening — Step 2 Fig. 8.4 • Bench Stone Sharpening — Step 3 Fig. 8.5 • Bench Stone Sharpening — Step 4 Fig. 8.6 • Sharpening The Double Bevel Blade — Steps 1 and 3 Fig. 8.7 • Sharpening The Double Bevel Blade — Step 2 Fig. 8.8 • Four Norton Fine India® Stones Fig. 8.9 • The Norton® Crystolon® Combination Stone Fig. 8.10 • The Double–Hollow Ground Blade Flush With A Bench Stone Fig. 8.1 • The Wedge Blade Flush With The Diamond Bench Stone Fig. 8.12 • Holding The Blade Angled To The Stone When Sharpening Fig. 8.13 • Sharpening Sideways Fig. 8.14 • Sharpening With The Blade Perpendicular To The Stone Fig. 8.15 • Reducing The Edge Angle With A Circular Stroke Fig. 8.16 • Thumbnail Test For A New Edge Fig. 8.17 • Sharpening The Bevel Of The Chisel Ground Knife  Fig. 8.18 • Sharpening The Front Face of the Single Bevel Knife  Fig. 8.19 • Sharpening The Single Bevel Blade — Stone Parallel To The Table Fig. 8.20 • Sharpening The Single Bevel Blade — Stone Perpendicular To The Table Fig. 8.21 • Six Hard Arkansas Stones

List Of Illustrations And Photographs

Begin scraping the tip of the soaked, trimmed reed blank: Start scraping the channels approximately 9–10 mm from the fold* (Fig. 1.33). Make 4–5 knife strokes per channel. You may need to be firm to penetrate the bark but these are not deep scrapes. Flip the reed over and repeat on the unscraped blade. Alternate your scraping between the channels (scraping side to side) and the 2 blades (scraping blade to blade) 2–3 times. Note, it is very important to scrape off the end of the reed blank onto your finger. Continue scraping: Lengthen the scraped area about 1 mm (Fig. 1.34). Make 4–5 scrapes per channel, per blade. Remove wider and deeper shavings from all 4 channels. Continue scraping the same area: Scrape at a slight angle toward the corners of the reed (Fig. 1.35). Make 4–5 scrapes per channel, per blade. After completing steps 1–3, the tip area of the reed blank is scraped, i.e., the bark and underbark in this area are removed (see figure 1.36).

Lesson 1: Sharpening And Scraping

Lesson 2, Page 85

Lesson 4, Page 127

Index, Page 222, Volume 1

Front Cover: THE ILLUSTRATED ENCYCLOPEDIA OF OBOE REEDMAKING, A Guide to the American School of Oboe Reedmaking; Volume 1, right-hand version, by ANN M. ROSANDICH; Foreword by Eugene Izotov Back Cover: The Illustrated Encyclopedia Of Oboe Reedmaking provides a unique contribution to the study and practice of oboe reedmaking and includes: Sharpening instructions with ceramic honing rods, steel, and bench stones Reedmaking steps not discussed or illustrated elsewhere Graphics drawn with three-dimensional effects Illustrations from the perspective of the reedmaker Instructions and illustrations for either left- or right-handed reedmakers in separate versions Color to re-enforce retention and differentiation of material Detail and information to interest and benefit both beginning and experienced reedmakers Different presentations of some concepts found in standard texts Material divided into manageable lessons suitable for use in group or private instruction by the college professor or high school teacher Heavy illustration conducive to use by the non-native English speaker Discussion of measurement and gaging A section on biomechanics and reedmaking — how to utilize your work environment, tools, and body to achieve higher quality results with less effort A lesson on gouging oboe tube cane A lesson for non-reedmakers

Back Cover Illustrated Encyclopedia Of Oboe Reedmaking, Volume 1

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