OBOE

The baroque oboe first appeared in the French court in the mid-17th century, where it was called hautbois, although this name was also used for its predecessor, the shawm. The basic form of the hautbois was derived from the shawm. Major differences between the two instruments include the division into three sections, or joints, for the hautbois (which allowed for more precise manufacture), and the elimination of the pirouette, a cap placed over the reed that enabled shawm players to produce greater volume. The latter development, more than any other, was responsible for bringing the hautbois indoors where, thanks to its more refined sound and style of playing, it took up a permanent place in the orchestra.
The exact date and place of origin of the hautbois are obscure, as are the individuals who were responsible. Circumstantial evidence, such as the statement by Michel de la Barre in his Memoire, points to members of the Philidor (Filidor) and hotteterre families. The instrument may in fact have had multiple inventors. The hautbois quickly spread throughout Europe, including England, where it was called "hautboy", "hoboy", "hautboit", "howboye", and similar variants of the French name. It was the main melody instrument in early military bands, until it was succeeded by the clarinet.
The baroque oboe was generally made of boxwood and had three keys a "great" key and two side keys. (The side key was often doubled to facilitate use of either the right or left hand on the bottom holes) In order to produce higher pitches, the player had to "overblow", or increase the air stream to reach the next harmonic. Notable oboe-makers of the period are the German Denner and Eichentopf, and the English Stanesby Sr. and Jr. The range for the baroque oboe comfortably extends from c1 to d3. With the resurgence of interest in early music in the mid 20th century, a few makers began producing copies to specifications from surviving historical instruments.