Advice on multiple-woodwinds graduate degrees and teaching careers

ByBret Pimentel

I often have university students bring up the idea of graduate school and a university teaching career, and I have previously given general advice about that.

Perhaps since my graduate degrees and a teaching career are in multiple woodwinds, my students sometimes wonder if that’s a path they should take. Here are a few thoughts:

I’ve mentioned previously that, even for talented and hardworking folks, a graduate education is far from a guarantee of employment. Does a multiple-woodwinds degree help? I think it helped me, but I also had some significant luck.

The year I was on the job market, I applied for a small handful of multiple-woodwinds jobs and got a small handful of interviews. I landed in the job that was the best match. I kept an eye on job listings in subsequent years, and years went by without a single multiple-woodwinds job being listed. If I had graduated a year later than I did, I may well have been unemployed.

During my job search I also applied for single-instrument teaching jobs, and got zero responses. Having been on the hiring side of things a few times now, I understand why. Faculty jobs get dozens of applicants that need to be narrowed down quickly, and the ones whose qualifications and experience are laser-focused for the job in question rise to the top. Though I felt I had things to offer, my multiple-woodwinds background wasn’t a precise enough fit, and somebody else’s background was.

So is a multiple-woodwinds education better, employability-wise, than focused study of a single instrument? It’s a calculated gamble. When you’re on the job market there might happen to be a windfall of single-instrument jobs, and if you’ve been focused on multiple woodwinds instead, you may be out of luck. However, there are fewer multiple-woodwinds graduates, so if a multiple-woodwinds-geared job opens, your background might prove very valuable.

Multiple-woodwinds teaching jobs tend to be common at smaller schools with smaller music departments, and that may or may not affect your decision. I have a mixed but mostly positive relationship with my small-university job. If your heart is set on teaching at a major university, then most of the jobs won’t be multiple-instrument jobs, and your competition will mostly be highly-specialized, highly-focused single-instrument players.

One other factor to consider is what kind of multiple-woodwinds education you want to get. Do you want to have a “primary” and “secondary” instruments, or study them in an equal way? Do you want to do a masters degree and a doctoral degree both in multiple woodwinds, or one in multiple woodwinds and one in a single instrument? How you focus your studies will affect which theoretical future jobs you will or won’t be a match for. (Each degree program is a little different, so check with the schools you’re interested in to see how their programs are structured.)

Graduate study in multiple woodwinds can be valuable preparation for a career in higher education, but the job opportunities are limited and hard to predict. I suggest pursuing that path if you have additional reasons or motivations for doing so, like a fascination with the woodwind instruments and woodwind doubling.

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  • Wind playing and contagious diseases

    ByBret Pimentel

    I’m not a (medical) doctor or disease expert of any kind, but I’ve been thinking a bit about the instruments I play and the risks of catching or spreading disease. (At the time of this writing, Covid-19 is foremost in many people’s minds.) I’m presenting a few thoughts here in hopes that people with real expertise will be able to address them in an authoritative way, and I’ll update this post as appropriate with links to additional information if/when it becomes available. Update: I have created a separate page with links to research/resources.

    As a player of reed instruments, I am of course concerned about reeds and mouthpieces (and related items like mouthpiece caps and reed cases, tools, and workspaces), and would like to implement some more structured, methodical ways of keeping them clean.

    But the thing that worries me more is what is in the air when I am playing wind instruments, or near people who are. Some research/modeling (the accuracy/relevance of which I am unqualified to judge) seems to suggest that “aerosol particles” from a cough can travel far and remain in the air for a long time:

    I can only speculate on how this relates to playing wind instruments, but it does leave me feeling uneasy. Some concerns that spring to mind:

    • If I am teaching lessons, even in my relatively spacious university studio, are my students and I both filling the air with potentially infectious particles, by blowing large amounts of well-supported air over sustained periods of time?
    • What surfaces in my studio are receiving these particles, and how long can germs survive there? Should I be altering my routine of teaching lessons all morning, then eating lunch at my desk? Do I need a routine for cleaning music stands, metronomes, and other items that are in the line of “fire?” Should I be concerned about what is settling on the bassoon reeds drying on pegs in a corner of the office?
    • When I or my students perform (especially in ensembles), how close are we to other people? I’ve certainly played orchestral gigs where there’s hardly enough elbow room to swab out a clarinet. What is being put into the air or onto surfaces when the entire wind section starts to play?

    Contagious diseases certainly aren’t new, and I think some basic courtesies and hygiene will continue to be adequate to keep ordinary disease risks in check. But at the time of this writing we find ourselves in an age when we are more attuned to physical (“social”) distancing, handwashing, and mask-wearing, and when we receive somber daily tallies of those affected by a public health crisis we don’t yet fully understand.

    Let’s all be listening to experts and thinking about how we can continue to share music with our students, teachers, collaborators, and audiences, safely and in good health. Stay well.

  • What I learned going back on the academic job market

    ByBret Pimentel

    In 2009, I finished a doctoral degree in music performance, and landed a job at a small university in a rural area. Like many young academics, I assumed it would be a stepping stone.

    In those early years, I interviewed for a number of other positions, and generally found that they would be lateral moves. Most of the schools interested in hiring me didn’t pay any better, weren’t any better-located, and didn’t offer a better match for my skills and interests. I stayed long enough to earn tenure, receive a couple of promotions, and carve out a role that suited me well. I also married someone with ties to the region. We bought a house and made plans to stay.

    In 2024, the university announced some serious cuts to academic programs as a cost-saving measure. Each degree program was reduced to a series of metrics in a spreadsheet, and sorted by a calculated financial “value.” Music departments don’t fare well under spreadsheet scrutiny, since we do much of our teaching one-on-one or in small groups, and always need more money for scholarships, grand pianos, and travel. My department was cut, and most of the music faculty, including me, were given one terminal year before being laid off.

    I didn’t expect to be back on the job market mid-career, but things worked out surprisingly well. During that terminal year, my workload—and frankly, my motivation—lightened enough that I had time to also teach part-time at a not-too-far-away, much larger, and more reputable university, due to the sudden retirement of one of their faculty. That put me in good position to interview for the full-time job when it was listed. I was offered the job, accepted the offer, and started in fall of 2025.

    I really couldn’t have been more fortunate about how things worked out, but while things were still up in the air I did find myself facing down some scary realities. While I definitely don’t have all the answers, I’m sharing my experience here in hopes it might be helpful to someone else.

    What seems to have helped me was a combination of luck and an understanding of how music professors get hired. The job market is shrinking and shifting; many variables are beyond anyone’s control. But some are not. You can’t control where positions open. You can try to apply where the fit is genuine and make a case for why that fit matters.

    My first concern was whether I would find jobs to apply to at all. The academic music job market is bleak—too many qualified folks, not enough positions, and job descriptions that are frustratingly specific. Even for woodwind openings (my area), some required background I don’t have, like in wind conducting, marching band, or music theory.

    Then there was the question of where. Preference usually isn’t much of a factor in academic job searches; you go where the job offer is. One possibility I did an early-stage interview for was in an extremely expensive city that would have meant downsizing. Another was in a more affordable area, but with weather that would have meant retooling our entire lifestyle. Finding a good fit less than three hours away—and actually landing it—was far more than I could have hoped for.

    There was also the matter of age and rank. While schools aren’t supposed to consider age, it can be an unspoken factor. I have many good teaching years ahead—but not as many as the freshly minted doctorates also applying. (A mentor even suggested shaving my greying beard to look younger.) My rank as a full professor may also have caused concern that I would expect title, salary, or autonomy that some institutions could not accommodate. One job that seemed like a no-brainer fit never progressed to an in-person interview, and the job went to a much younger (excellent and deserving) candidate. I can’t know why, of course, but I have to wonder.

    On the other hand, I had the much-in-demand “college teaching experience” required in so many job listings. Having served on and chaired hiring committees, I’ve seen applicants without relevant teaching experience get dumped straight into the “no” pile. (For that reason, I strongly suggest that graduate students seek out teaching assistantships or part-time adjunct positions, even if unglamorous or inconvenient.)

    Maybe more importantly, I knew how to frame my candidacy better than when I was a new DMA. In those days I leaned heavily into my nerdy academic interests and my high-minded teaching philosophies. This time, I focused on recruitment strategy, experience working with diverse (and sometimes underprepared) student populations, and a track record of collegiality and flexibility. I tried to present myself as a candidate who could help solve practical problems for my future colleagues and department. Artistic excellence matters, but it’s not enough.

    The opportunity to teach part-time at the institution before the full-time search was likely helpful. I built relationships with faculty, and did a lot of driving back and forth to support recruitment events and student performances. I learned the department’s priorities and pressures, and spent those hours on the road thinking about them. Recruitment and growth were central concerns, and I could show that I already had a local recruiting network that aligned with those goals, including former students now teaching in area schools.

    My younger self thought artistic excellence would determine my career trajectory, and that tenure would secure it. Mid-career me sees things differently. Tenure is not immunity from institutional change.

    I can’t claim to know exactly why I was hired at the new job. Hiring can be kind of a black box. But I do know that I approached the process with a clearer sense of institutional realities, and that I tried to make a case for how I could be useful within them. In a hiring landscape that can feel opaque, that was something I could control.

  • What should be on your musician website

    ByBret Pimentel

    It’s cheap and easy to create a website. Any serious freelance musician (or aspiring musician) should have one.

    This should be a website about you, an individual musician. It should be separate from your ensemble’s website or your academic institution’s website. It should exist long-term, and serve as a sort of permanent address for finding you online. If you do most of your online stuff on social media sites or on your organizations’ sites, that’s fine. Your individual website doesn’t have to replace or duplicate any of that. It can simply point people to those resources.

    I won’t go into any technical details here, because there is very extensive information available online about the ways to make websites. Suffice it to say that if you have only enough technical skill to send and receive email and post things on Facebook, there are website services simple enough for you to operate. Or if you want to roll up your sleeves and code every line from scratch, you can learn how to do that too.

    Here’s what you need, content-wise:

    Mandatory items

    • A domain name. Preferably this is something very simple and clear, like your name. Mine is bretpimentel.com. It works well because there aren’t a lot of Bret Pimentels, so web searches for my name usually put my site right at the top of the results.
      • If you have a more common name, you might need to add something meaningful to it. bretpimentelwoodwinds.com might work well, or bretpimentelmusic.com.
      • Pay for a real domain name. It’s not expensive. Something like bretpimentel.freewebsites.com looks unprofessional.
    • At minimum, a simple indication of what it is you do and how to contact you. That’s enough to be your whole website if you like. Here’s an example: “Bret Pimentel is a performer and teacher on the woodwind instruments: flute, oboe, clarinet, bassoon, and saxophone. Reach him at bret@bretpimentel.com.”
    • Some longevity. Go ahead and prepay the domain name and whatever hosting services you need for a good long time, maybe five or ten years, or set it up to renew automatically.

    Optional items

    • A more detailed biography.
    • A nice picture of you, especially one that helps reinforce what you do (like one where you’re holding your instrument).
    • Links to your social media profiles, YouTube channel, or other online things you want people to find.
    • Links to the websites of things associated with your career, like your performing ensembles or the institutions where you teach.

    Optional items with caveats

    Most of these things have to do with updating the content of your site on some kind of regular basis. That’s worth doing if your intention is to bring people back to visit your site again in the future. If you prefer to use your site as just sort of a digital business card, with no updating content, that’s fine too, and is much less effort to maintain.

    • A calendar of your upcoming performances. Only do this if you are thoroughly dedicated to keeping it up to date. An expired calendar makes your website look abandoned.
    • Recordings (audio and/or video) of some of your performances.
      • If you are hoping your website will help you get hired for things, only include recordings that you think appropriately and honestly reflect your current abilities.
      • Only post material you are certain you have the rights to post. For most individual-musician websites, chances are slim that anyone will take legal action against you for posting copyrighted material, but it’s still decent and polite to respect others’ intellectual property. (Acknowledging your non-ownership doesn’t make it okay to post something that isn’t yours. The copyright owner has to specifically give you permission or license the material to you in some way.)
    • A blog and/or some articles or other resources.
      • Again, this should be your own intellectual property or something you have explicit permission to post.
      • If you start a blog, start with a post that is about something, not a post about how you intend to start blogging soon, or asking people for ideas what to blog about. Lots of blogs start that way, with a single post promising big things to come, and then nothing more ever.
      • You don’t have to blog on any particular schedule if you don’t want to, just post when you have something to say.

    Don’t include these

    • Lists of who you have played with, unless they are significant and career-defining.
      • As a graduate student I got to play at a university event honoring Dave Brubeck, including playing in an ensemble “with” him. For years my professional biography indicated that I had played with Dave Brubeck, even though after the one gig was over he almost certainly wouldn’t have remembered me, much less considered me some kind of collaborator. Listing him on my website was a pretty transparent inflation of the truth. (If he had hired me to join his quartet and go on the road for a few years, that would definitely be worth mentioning on my site.)
      • There have also been many less-famous names I have performed with, and why list those?
    • Lists of the equipment you use. One possible exception is if you have official endorsement deals that contractually require you to include this information. Otherwise, what is the list for? To prove how much money you have spent? To encourage others to blindly buy the same products as you?
    • “Links” lists, except in the rare case that your curation brings something valuable to the table. Lists of sites that you think are interesting or somehow related to your site are an artifact of earlier days of the web. Now if people want to find sites related to a topic, they just do a web search or follow related entities on social media.
    • Gratuitous photo albums, unless there’s a good reason to post them. Being attractive and/or vain isn’t a good reason, if you are hoping people will focus on what you have to offer musically. And you do need permission from the copyright holder.

    A simple website is part of the modern musician’s professional face—you need one the same way you need a phone number, an email address, and black clothes for the gig. You can start for a few dollars and finish in less than an hour, or spend years building it into a powerful communication outlet. Get started today!

  • Students and gig pay

    ByBret Pimentel

    Over a year ago I wrote about responding to free or underpaid gig “offers.” A commenter asked a fair question, which has haunted me since:

    I was wondering how much of this still applies when taking on gigs as a student.

    I’ve wrestled with this a bit and I’m not sure I have a real answer, but I do have some thoughts. (As usual, I’m talking here about markets that don’t benefit from a strong union presence, such as most of the USA.)

    For someone hiring musicians for a gig, I don’t see a good reason to consider student status at all. You should hire musicians who can do the job, and should pay them fairly. If they are students, what does that have to do with anything?

    photo, Ryan Hyde

    But the Right Thing to Do seems a little less clear from the student perspective. In a situation where someone is attempting to treat student musicians (or anyone) in an exploitative way, the options are to accept, to attempt to negotiate better terms, or to refuse the gig. The problem is that freelance careers depend heavily on word-of-mouth recommendations, and being “easy to work with” is a prized quality. A student musician trying to get a foothold in the business could hurt his or her cause by complaining about unfair pay, or by staying home instead of playing.

    Student musicians have to find the best balance they can between advocating for fair treatment and going with the flow. It’s not reasonable for the least-experienced musicians to have to navigate such a complicated thing with their careers hanging in the balance, but it’s the way things are.

    Here are some questions you might ask yourself if you’re a student musician and think you’re being undervalued in the professional freelance marketplace:

    • Who else is on the gig? Would this be a genuine opportunity to make some connections and let some other musicians hear what you can do? Are those musicians the kind who might be able to offer you future opportunities in the near term, or are they others who don’t have much of a career yet?
    • Do you have peers who have taken this gig in the past? Did it pay off in terms of “exposure” or future gigs?
    • Is the experience something that would look good on your word-of-mouth “résumé,” or would it be kind of an embarrassment?
    • Do you have a trusted friend or mentor who is more established in the business, who can advise you on this specific situation? The music world is a small one, and someone who knows the local freelance scene might be able to offer some background.

    Be careful of talking yourself into free or below-market gigs because you “just want to play.” That kind of attitude serves you well in school, but not so well when you’re trying to make a living, and it drags down other musicians’ ability to make fair money and pay their bills.

    A parting thought: I certainly did some free and underpaid gigs as a student, and in some cases that may have opened doors to better opportunities. (It’s hard to connect the dots definitively.) But I think those of us who are established as freelancers should be careful about treating unfairness as a “paying dues” rite of passage. Shouldn’t we be using our success to make things better for the next generation of musicians?

  • Private teaching methods of university music professors: Observations, analysis, and application

    ByBret Pimentel

    Introduction

    During the month of October 2001, I observed the private teaching methods of music professors at Brigham Young University. Though each professor’s methods differed in some details, the underlying principles of effective teaching were very similar: first, provide an environment in which the student is comfortable and undistracted; second, provide clear objectives, including honest evaluations of progress; and third, provide needed motivation.

    1. Provide a comfortable learning environment

    A comfortable learning environment includes a trusting and secure student-teacher relationship, proper facilities and equipment, and a distraction-free environment. These allow student and teacher to concentrate on the lesson, prevent unnecessary stress, and promote optimal performance. Read More “Private teaching methods of university music professors: Observations, analysis, and application”

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    When things get canceled

    ByBret Pimentel

    I had a very busy final semester of my bachelor’s degree. I was performing with six different university ensembles (one of which was planning a month-long international summer tour), doing woodwind doubling for a musical, teaching at a nearby music school, and preparing for graduate school auditions.

    Then I broke my arm. I slipped on something in a parking lot and landed on my elbow. The doctor put me in a cast from fingertips to shoulder.

    At the time it seemed like the world was coming to an end. But things worked out. I canceled some things and modified or delayed some others. Some kind professors gave me advice and perspective and helped out with some logistics.

    Looking back, it’s barely a bump in the road to where I am now. But I think of it now and then, when the next gig or recital starts to feel like the most important thing I will ever do.

    For my college students, lots of things have been canceled this semester. Some of them won’t get to do their recital class performances or their Honors Recital auditions or their ensemble concerts.

    It’s a shame to miss out on things. But right now there are bigger things going on in the world that demand some changes of plan. And in another year or two, those missed opportunities will be crowded out by all the new ones. A few missed performances will be a war story, not a lasting tragedy.

    (That said, we shouldn’t forget that some musicians’ livelihoods are threatened by things like shutdowns of venues. Now is an excellent time to buy your favorites’ albums and merch to enjoy at home.)

    Stay well, and look forward to the opportunities to come.

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