Coming to one-handed instruments after many years of learning and playing conventionally can seem daunting. Here, one-handed clarinet player Sam Davies recounts his experience of transitioning to one-handed woodwind instruments.
Sam Davies
Sam Davies has always been a prolific music-maker. At secondary school, he and a group of five friends lived and breathed music, setting up all manner of ensembles including on ukulele and folk. He played the piano at Grade 6, as well as the recorders, clarinet and saxophone. In 2011, at the age of 16, an injury to his right arm – resulting from a chronic condition that had been badly managed – made conventional playing no longer possible.
Operations to alleviate the effects of the condition were unsuccessful and deterioration proved to be quite sudden. Sam recalls how he navigated that time:
“Even when my arm was at its worst, I was told that most areas of life could be adapted. There was one medical appointment, however, that really stands out in my mind when the consultant delivered the bombshell statement ‘You’ll never play music again.’ That was the appointment that broke me.
“Fortunately for me, I could count on my aunt’s own lived experience of something similar. Having suffered a stroke in her twenties affecting her right side, she was able to show me that playing the piano with one hand was more than possible. ‘What rot!’ was her reaction to my consultant’s initial prognosis!”
Sam did get some use of his arm back and, alongside his one-handed piano playing, he was able to continue playing the smaller descant and treble recorders as well as the clarinet: “Even though my playing was restricted, I figured that five minutes was better than nothing!”
When are you ready to play a one-handed instrument?
In 2018, Sam got involved in one of the NYRO (National Youth Recorder Orchestra) Playing Days where he witnessed another member’s performances on the one-handed descant and treble recorders.
The event coincided with Sam’s growing acceptance that it was now a case of ‘when, not if’ his condition would deteriorate again – whether that be in a year’s time or decades away. Knowing that one-handed recorders (and later, the one-handed clarinet) would be available when the time came, was reassuring.
Fast forward a couple of years and Sam’s condition was impacting his ability to keep up in orchestra performances. Still not considering himself ‘ready’, he decided to try the French horn since it relies on left-handed playing.
It was the enforced Covid lockdowns that finally gave Sam the time and space to learn the one-handed descant and treble recorders: “It took me a few months to start thinking in a one-handed way but I just went for it!”
By the time Sam returned to ensemble performances in 2020, it was as a one-handed recorder player and then, in 2022, as a one-handed clarinet player. Whilst he always gave advance notice when joining a new group that he would need special provision as a wheelchair user, Sam did not see the need to declare his use of an adapted instrument: “I don't tell people in advance that I play a one-handed instrument because I don't want that to influence people's perceptions about how good I might be.” He has found audiences to be curious about his playing: “I always now take my time packing away after a performance because I know I’ll always be asked about my adapted clarinet. The audience can see that it looks a bit different but I have to point out what, specifically.”
Can playing with one hand ever be as good as with two? It is an emphatic ‘Yes!’ from Sam: “The toughest piece I ever played on a conventional instrument was a Fantasia for treble recorder by Telemann. I’m pleased to say that I can play this piece on the adapted recorder, and my performance is as good as before – perhaps, even better!”
Bringing one-handed musical instruments into the mainstream
“Orchestras like NOYO really are great for those with access needs, particularly because their approach to meeting a particular musician’s requirements is ‘how do we do it?’ rather than ‘can we do it?’ but adapted instruments really do need to get into mainstream ensembles. It needs to be the norm that somebody turns up with an adapted instrument and that they can be accommodated accordingly.
“Adapted music-making can seem alien but it is actually not a mythical or extraordinary thing to play a one-handed instrument! I hope my experience shows that it's simply one step at a time, and that not feeling ready to make the switch is also a really important step of the journey. And most importantly, I don’t ever want another person with an acquired disability to be told ‘you’ll never play music again’ – for it’s simply untrue!”
Sharing tips on playing a one-handed musical instrument
Sam was invited to share his tips on playing a one-handed musical instrument at OHMI’s Conference & Awards 2025 which took place in Birmingham in March 2025.
His tips included knowing where to start (actually, not at the beginning if you already know your instrument of choice in its conventional form); choosing the right Grade (not too low that it creates boredom and not too difficult that it creates frustration); and being realistic about your competence in fingering, reading music or learning embouchure if significant time has lapsed playing a conventional instrument.
A recording of his presentation, where he also shares his experiences of grief and coming to terms with closing the door on conventional playing, can be accessed here: A New Way to Play: Switching to One-Handed Instruments as an Experienced Player.
Operations to alleviate the effects of the condition were unsuccessful and deterioration proved to be quite sudden. Sam recalls how he navigated that time:
“Even when my arm was at its worst, I was told that most areas of life could be adapted. There was one medical appointment, however, that really stands out in my mind when the consultant delivered the bombshell statement ‘You’ll never play music again.’ That was the appointment that broke me.
“Fortunately for me, I could count on my aunt’s own lived experience of something similar. Having suffered a stroke in her twenties affecting her right side, she was able to show me that playing the piano with one hand was more than possible. ‘What rot!’ was her reaction to my consultant’s initial prognosis!”
Sam did get some use of his arm back and, alongside his one-handed piano playing, he was able to continue playing the smaller descant and treble recorders as well as the clarinet: “Even though my playing was restricted, I figured that five minutes was better than nothing!”
When are you ready to play a one-handed instrument?
In 2018, Sam got involved in one of the NYRO (National Youth Recorder Orchestra) Playing Days where he witnessed another member’s performances on the one-handed descant and treble recorders.
The event coincided with Sam’s growing acceptance that it was now a case of ‘when, not if’ his condition would deteriorate again – whether that be in a year’s time or decades away. Knowing that one-handed recorders (and later, the one-handed clarinet) would be available when the time came, was reassuring.
Fast forward a couple of years and Sam’s condition was impacting his ability to keep up in orchestra performances. Still not considering himself ‘ready’, he decided to try the French horn since it relies on left-handed playing.
It was the enforced Covid lockdowns that finally gave Sam the time and space to learn the one-handed descant and treble recorders: “It took me a few months to start thinking in a one-handed way but I just went for it!”
By the time Sam returned to ensemble performances in 2020, it was as a one-handed recorder player and then, in 2022, as a one-handed clarinet player. Whilst he always gave advance notice when joining a new group that he would need special provision as a wheelchair user, Sam did not see the need to declare his use of an adapted instrument: “I don't tell people in advance that I play a one-handed instrument because I don't want that to influence people's perceptions about how good I might be.” He has found audiences to be curious about his playing: “I always now take my time packing away after a performance because I know I’ll always be asked about my adapted clarinet. The audience can see that it looks a bit different but I have to point out what, specifically.”
Can playing with one hand ever be as good as with two? It is an emphatic ‘Yes!’ from Sam: “The toughest piece I ever played on a conventional instrument was a Fantasia for treble recorder by Telemann. I’m pleased to say that I can play this piece on the adapted recorder, and my performance is as good as before – perhaps, even better!”
Bringing one-handed musical instruments into the mainstream
“Orchestras like NOYO really are great for those with access needs, particularly because their approach to meeting a particular musician’s requirements is ‘how do we do it?’ rather than ‘can we do it?’ but adapted instruments really do need to get into mainstream ensembles. It needs to be the norm that somebody turns up with an adapted instrument and that they can be accommodated accordingly.
“Adapted music-making can seem alien but it is actually not a mythical or extraordinary thing to play a one-handed instrument! I hope my experience shows that it's simply one step at a time, and that not feeling ready to make the switch is also a really important step of the journey. And most importantly, I don’t ever want another person with an acquired disability to be told ‘you’ll never play music again’ – for it’s simply untrue!”
Sharing tips on playing a one-handed musical instrument
Sam was invited to share his tips on playing a one-handed musical instrument at OHMI’s Conference & Awards 2025 which took place in Birmingham in March 2025.
His tips included knowing where to start (actually, not at the beginning if you already know your instrument of choice in its conventional form); choosing the right Grade (not too low that it creates boredom and not too difficult that it creates frustration); and being realistic about your competence in fingering, reading music or learning embouchure if significant time has lapsed playing a conventional instrument.
A recording of his presentation, where he also shares his experiences of grief and coming to terms with closing the door on conventional playing, can be accessed here: A New Way to Play: Switching to One-Handed Instruments as an Experienced Player.
"Adapted music-making can seem alien but it is actually not a mythical or extraordinary thing to play a one-handed instrument! I hope my experience shows that it's simply one step at a time, and that not feeling ready to make the switch is also a really imporant step of the journey."
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The OHMI Trust is a registered charity (Registered in England and Wales Charity No. 1143623, Scotland Charity No. SC052047).
Registered office: 29 Woodbourne Road, Harborne, Birmingham, B17 8BY
All content © OHMI - Enabling Music-Making for Physically Disabled People
The OHMI Trust is a registered charity (Registered in England and Wales Charity No. 1143623, Scotland Charity No. SC052047).
Registered office: 29 Woodbourne Road, Harborne, Birmingham, B17 8BY