Double-reed instruments

An aulos (plural auloi; : , plural : ) or was a wind instrument in ancient Greece, often depicted in art and also attested by archaeology.

thumb|Shepherd playing the shawm (1646), by Jan Baptist Wolfaerts|Jan Baptist Wolffort (Dutch [[Rijksmuseum)]]

thumb|upright|Dulcian, 1700, Museu de la Música de Barcelona thumb|Dulcians in Theatrum Instrumentorum (Michael Praetorius, 1620) The dulcian is a Renaissance woodwind instrument, with a double reed and a folded conical bore. Equivalent terms include , , , , , , and .

thumb|300px|Modern crumhorns with keys, alto crumhorn in F, bass crumhorn in F thumb|300px|Double-reed of an alto crumhorn in F The crumhorn is a double reed instrument of the woodwind family, most commonly used during the Renaissance period. In modern times, particularly since the 1960s, there has been a revival of interest in early music, and crumhorns are being played again. It was also spelled krummhorn, krumhorn, krum horn, and cremorne.

thumb|Pommers with reeds Pommer or bombard (French hautbois; Italian bombardo, bombardone) describes the alto, tenor, bass, and contrabass members of the shawm or Schalmey family. They are similar in function to the modern cor anglais, tenoroon, bassoon, and contrabassoon, although the bassoon family's direct ancestor was the dulcian/curtal family.

thumb|Dulzaina being played thumb|The Muixeranga song (Xavi Richart, valencian dolçaina with tabalet drum). thumb|100px|Dolçaina (Valencian Community, [[Spain).]]

thumb|right|300px|Racketts, from Michael Praetorius' [[Syntagma Musicum Theatrum Instrumentorum seu Sciagraphia (1619)]]

thumb|right|100px|Alto Cornamuse in F, made of pear wood (Reconstruction by Dominik Bauer, Saarbrücken) The cornamuse is a double reed instrument dating from the Renaissance period. 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. Since the paragraph by Praetorius is the only clear description of the cornamuse and no period specimen or picture has been found, all reconstructions of the instrument rely on a certain

type of reed used to produce sound in various wind instruments

thumb|200px|A sopranino rauschpfeife being played

thumb|Kèn in the Vietnam Museum of Ethnology thumb|Two rats at the end of the first row in the picture Đám cưới chuột are playing the kèn. The kèn () is an instrument used in traditional Vietnamese music. It has a double reed and a conical wooden body. It produces a powerful and penetrating high-pitched sound, similar to the Chinese suona, the Korean taepyeongso, the Thai Pi, and the Persian/Indian shehnai. Its musical context resembles that of the oboes played by the Tai peoples, who call it the "Pí Lè", and the Muong people, who call it the "Bi". The name "Kèn" is also used to informally ref

thumb|Kortholt from Praetorius, , Wolfenbüttel 1619

thumb|Bassanelli The bassanello (plural bassanelli) was a Renaissance double reed woodwind instrument which was described in 1619 by Michael Praetorius in his Syntagma Musicum II: "Bassanelli derive their name from the master who created them, Johann Bassanello, an illustrious Venetian musician and composer. The bore of bassanelli is straight and opens at the bottom; and these instruments only have one key. They are blown by direct contact with the reeds, exactly as are curtals, pommers, and bassets, and are nearly the same as these instruments in timbre, but much softer. The cant, which is t

thumb|Zukra on display at the Musical Instrument Museum (Phoenix)|Musical Instrument Museum The zukra (or zokra or zoughara, ) is a Libyan bagpipe with a double-chanter terminating in two cow horns; it is similar in construction to the Tunisian mizwad.

The contraforte () is a proprietary instrument with a range similar to the contrabassoon produced by Benedikt Eppelsheim and Guntram Wolf. It is intended to have improved dynamics and intonation over the distinctive but sometimes reticent sound of the conventional contrabassoon. The contraforte uses a different and wider bore than the contrabassoon to produce a distinct tone; the sound is more even in strength and intonation across registers, remaining quite strong into the high register, unlike a contrabassoon. Also, it lacks the distinct "rattle" of a contrabassoon, although an appropriate r

Aragonese double-reed instrument