gift box decorated with ribbon bow for present

Pitfalls of giving musical instruments as gifts

ByBret Pimentel

Giving someone a musical instrument as a surprise is a generous and thoughtful idea. But getting it right can be tricky. Here are some things to consider:

  • For serious musicians, like a student studying with a private teacher, a college music major, or someone who does any kind of (semi-)professional playing, an instrument is a very personal choice. Even if you know what brand and model they have been eyeing, they will probably want to try several, since they all play a little differently. If they are a student, their teacher should also have significant input on any instrument purchase.
  • Nice instruments are expensive, and serious musicians invest in them as something they will use every day and possibly use to make a living. Certain instruments can cost as much as a very fancy car! So, if your budget doesn’t stretch quite that far, it might make more sense to make a contribution toward an eventual purchase.

For beginners or more casual hobbyist musicians, their preferences might not be as specific or costly. But if you don’t have some expertise in musical instruments (more than Internet research can provide!) there are still dangers.

  • The very inexpensive “instruments” sold in big-box stores or online megastores are sometimes not really playable instruments but more like realistic-looking toys, despite what they say on the box or website.
  • Used instruments from classified ads or pawn shops may be in unplayable condition, in ways that aren’t obvious to an untrained eye, even an eye that is otherwise good with mechanical things, furniture pieces, etc.
  • If your idea is for a youngster to join up with, say, a school band program, that program might have some guidelines or requirements about what instruments are appropriate.
  • Information you might find on the internet isn’t a substitute for advice from a good private teacher, and music store employees may have motives besides helping you find the best possible instrument at the best possible deal.

If you are thinking about giving an instrument as a gift, consider these alternatives:

  • Buy a young recipient some lessons with a reputable teacher, and have that teacher work with you on eventually upgrading to a nicer instrument.
  • Ask the recipient what smaller-ticket, lower-stakes items they might need, like a new instrument case, strap, stand, etc.
  • Contribute toward (or fund outright!) a future purchase of an instrument to be selected by the recipient. A college-aged student might be gradually paying off the nice instrument they already have, and might really appreciate having it paid off in part or full.

Happy gift-giving!

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  • Recital preparation

    ByBret Pimentel

    A few of my students have had recitals or other solo performances recently. Besides musical preparation, this is the advice I give:

    Visualize. If possible, spend time in the performance space before performance day. If not, imagine up a good representation of what the space is likely to look and “feel” like. Mentally walk through the entire performance, from your arrival at the venue to your departure. Include every detail you can, no matter how mundane. In your mind’s eye, see yourself entering the stage, taking a tuning note, making a reed adjustment, waiting for the audience to fall silent. Audiate the whole performance the way you want it to sound. Hear the last note reverberating in the hall, then see yourself taking a bow and leaving the stage.

    I find this valuable because everything feels familiar on the night of the performance. Even if I get some of the details wrong or leave something out, I can deal with those things as minor glitches in an otherwise controlled experience, rather than seeing them as part of a flood of unanticipated events. It also gives me a chance to think through any logistical issues; I take notes and make a to-do list while I do this exercise.

    Warm up intelligently. I like to keep practicing to a minimum on performance day when possible. It’s not likely that I will make significant improvements in my preparation at that point, and I want my mind clear and body rested. If I have an evening recital, I typically do a leisurely warmup in the morning and make semi-final reed decisions. I focus the warmup on tone production and tension-free technique.

    I practice the performance repertoire as little as possible on recital day. If there are difficult technical passages that I am worried about, I make a point of not trying to play them up to tempo, but instead run through them in a very slow and controlled way, focusing on tone and expression. That keeps my final practicing positive and constructive, rather than causing me stress about potential failures.

    Have a good, normal day. I don’t want to depend on recital day rituals or superstitions, but I do want to be in a good mood. I don’t eat a special breakfast, but I eat something that is a favorite among my typical breakfasts. I don’t wear new clothes, but I wear something that I feel good in. I don’t take the day off work, but I do carve out a non-working lunch hour. Small, ordinary pleasures are the order of the day.

    I find that if I make too big a deal of performance day, I overthink and attach unwarranted weight to the event. Keeping things good but normal makes performing less stressful.

    I would be curious to hear your advice for performance preparation (besides the hours of practice). Please share in the comments section if you feel inclined.

  • |

    Not good

    ByBret Pimentel

    I like to use a Socratic-ish method in my private lessons, and ask my students questions. It means that I have this conversation several times per day:

    [Student plays.]

    Me: How did that sound to you?

    Student: Not good.

    Me: What didn’t you like about it?

    Student: It didn’t sound good.

    Me: What aspect of it didn’t sound good to you? The tone? the pitch? the phrasing? the articulation?

    Student: Um, I guess the articulation?

    Me: What didn’t you like about the articulation?

    Student: It wasn’t good?

    It’s an ongoing battle to get my students to listen more deeply than that. Was the articulation “not good” because it started with air noise instead of tone? Because it was accompanied by an unwanted percussive sound? Was the articulation technique perfect but you failed to follow the composer’s markings? Or was it something else?

    Photo, David Bailey
    Photo, David Bailey

    Often the “not good” is a combination of factors, but if my students can identify even one of them, then they can immediately start working in a focused way to improve it. If it’s just “not good,” then they tend to just play it again from the beginning without any clear approach to making it sound better, and repeat until frustrated.

    Part of my job is to help them identify and verbalize the desirable and undesirable phenomena in their playing, and to teach them the techniques for manipulating the variables involved (breath support, voicing, embouchure, finger technique, and tongue technique, to name the most obvious ones). But it’s up to them to take that information and run with it. For my students to become independently-functional musicians, they need to learn to listen critically to themselves and troubleshoot.

    For yourself and for your students, don’t be satisfied with bland value judgments (it sounded “good” or “bad”). Be factual and descriptive about what you hear, and tackle problems in a methodical way. Practice smart!

  • How to write boring program notes

    ByBret Pimentel

    Things to include in your program notes for maximum boredom:

    • More than a sentence (two, tops) of general biography on the composer.
    • Unremarkable facts about the piece’s structure (sonata form! key of F!).
    • A blow-by-blow description (first there is a kind of sad theme! it starts out low and soft but then it gets higher and louder!).
    • Unfounded judgments about the piece or composer (this is one of the greatest pieces in the repertoire! the composer is truly a genius!).
    • Explanation (excuses and/or bragging) about how difficult the piece is to play, or inside baseball about playing technique (this piece goes way up into the third octave! the performer has to use triple-tonguing in this one spot!).
    • Show-offy or obscure terminology, especially if it’s not part of your usual vocabulary and there’s a chance you are using it wrong.
    • Length greater than a slow reader can get through in the breaks between pieces.

    But if you prefer program notes that are less boring, I guess you could try these:

    • Stick mostly to biographical information that relates specifically to the piece being performed.
    • Stick mostly to language and content that is accessible to someone who is new to this kind of music and nervous that they won’t get it.
    • If you must describe the piece to your audience, imagine you are writing program notes for a movie instead. Don’t give away the ending or the celebrity cameos or the plot twist, and don’t give a scene-by-scene breakdown. Give just enough to pique their interest.
    • If the piece itself is likely to be challenging or inaccessible to your audience, give them a sense for what is interesting about it. (For example, explain in two or three simple sentences about 12-tone serialism or microtonality or minimalism.)

    If you’re a student writing program notes as an assignment, you might have to hit a certain target length, include specific information, cite sources, etc. If you’re a teacher assigning those things, consider that maybe what you really wanted was a book report or a theory paper instead.

    Generally, program notes should give an intelligent but not necessarily musically-trained audience a few things to help them enjoy the performance more, without feeling like homework. Be ruthless about trimming away anything that doesn’t contribute to that, and don’t be afraid of brevity.

  • Buying woodwind instruments

    ByBret Pimentel

    General advice

    The information on this page is intended for beginning and intermediate players, including woodwind doublers who already play another instrument. Here are some rules of thumb:

    • Get the advice of a good teacher, preferably one that doesn’t get a sales commission from a music store. It’s okay to ask advice before starting lessons. A good teacher wants you to have a good, working instrument.
    • In fact, be very skeptical of anything you are told by music store salespeople. My students frequently begin lessons with poor, non-working woodwind instruments that were highly recommended by the guitar player working behind the counter. Ask the salesperson to demonstrate the instrument. If they can’t do it, there’s little reason to take their recommendations.
    • The most important consideration for a beginner’s instrument is its condition. Woodwind instruments use pads made of leather, skin, or cork that MUST seal properly. Poorly adjusted instruments are one of the top causes of frustration in beginning players. Don’t waste your time fighting with a leaking instrument. Cosmetic flaws like worn or scratched finish or small dents (except in vital spots such as a flute’s headjoint or saxophone’s neck) do not necessarily affect an instrument’s playability, but may be warning signs of larger problems. It is possible to buy a non-working instrument and have a good technician restore it to playable condition, but it would be a good idea to get their appraisal of the instrument before you buy it.
    • Don’t buy musical instruments from department stores, megastores, or warehouse stores. These temptingly cheap instruments are made from inferior materials and are almost always in poor adjustment. Good repair shops won’t even work on them because they tend to break under the normal strains of routine maintenance.

    Read More “Buying woodwind instruments”

  • Tips for student chamber music groups

    ByBret Pimentel

    One of my goals for the semester is to improve my skills as a chamber music coach. This week I set out to explore some resources on the techniques of playing chamber music, and found surprisingly little in my initial search besides historical surveys and repertoire listings. (A fuller search remains to be done, but in the meantime I welcome your tips and suggested resources in the comments below.)

    So, in hopes of making someone else’s search just a little easier, I’m putting in writing a few of my favorite basic tips I use frequently with my college chamber music students:

    Photo, euthman
    Photo, euthman
    • Arrange your chairs and music stands so you can see everybody (at least in a group that is small enough to do so). If you are the one cuing the start of the movement, make eye contact with everyone first.
    • Start each movement by breathing together, even if not everyone plays the first note. Also breathe together at appropriate places within each movement. I think this is better than someone giving a visual downbeat for a variety of reasons: it’s aural, it’s unifying, it’s non-distracting to the audience, it’s easy and natural. (It particularly makes sense for wind or vocal chamber groups, but I think it’s a good idea for others as well.)
    • Move a little. If everyone participates in some subtle “conducting,” it can really help to reinforce and unify the tempo and phrasing, and even indicate a rehearsal mark for someone who is lost. (Too much movement is awkward and distracting, but mostly my students err on the side of being statues.)
    • Get detailed about matching your sounds. Not just note attacks, but also note shapes and endings. Coordinate breaths if appropriate. If there is a crescendo, don’t just get louder at the same time, but get louder at the same rate. Match and blend tone colors—for example, maybe the flutist tries to sound like a clarinet, and the clarinetist tries to sound like a flute, and they meet somewhere in the middle.
    • Especially for less-experienced groups, it may be wise to talk through (and maybe even rehearse) some things like stage entrances, exits, and bows, so you aren’t awkwardly trying to figure it out with an audience watching. Make sure you’re one the same page dress-code-wise as well. I personally find matching or overly-coordinated outfits a little silly, but do at least be sure you’re agreed as to an appropriate level of formality so no one feels uncomfortable.

    Please do jump in and share your best tips, or your resources on how to be a better chamber musician.

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    Practice slump checklist

    ByBret Pimentel

    Sometimes my students complain that they have had bad practicing days or weeks. Not that I have ever had this problem (ahem), but here are a few ideas for breaking out of a practicing slump.

    photo, Katy Wrathall
    photo, Katy Wrathall
    1. Check equipment. Slightly-malfunctioning gear can make you feel like a bad player. Be sure to eliminate this possibility.
      • Are your reeds functioning well? Prioritize response-balanced-with-stability over more subjective and malleable things like tone. Many reed players use unnecessarily stiff reeds; consider trying something a little softer if you haven’t lately.
      • Is your instrument functioning well? If you know how, check the most important adjustment screws (oboe: left hand stack, left G-sharp key, F resonance; saxophone: bis, G-sharp, right hand stack). Re-check basics like alignment of bridge keys. And, of course, make sure your instrument gets regular (at least annual) maintenance checkups. Professional instruments should probably get full mechanical overhauls every 5-10 years.
      • Are you using the best equipment for you? Don’t let new purchases be your go-to solution for every problem, but in some cases replacing an instrument or accessory can remove a roadblock to progress. (Do a reality-check with your teacher to make sure you aren’t just throwing away money chasing a quick fix.)
    2. Check technique. It might be you after all.
      • Have you warmed up thoroughly and correctly today? It’s best to do this at the beginning of your practice session, but there’s no rule that says you can’t warm up some more mid-session to double-check your tone production and reset your mental focus.
      • Have you reviewed all your fundamentals? Take a closer look at your posture, hand position, breath support, embouchure, voicing, finger movement, etc. Have you slipped back into a bad habit? Are you suffering the effects of a technique deficiency you know you should fix but haven’t gotten around to yet? If you don’t know how to fix it, check in with your teacher.
      • Can you release some tension? Frustration often goes hand-in-hand with tense muscles. Consider doing a little deep breathing, stretching, mindfulness practice, yoga, Alexander Technique, or whatever else puts your body back in balance.
      • Have you laid sufficient technical groundwork? If you are working on something especially difficult, is there something else you could practice as an intermediate step? Études, technical exercises, or other preparatory material can help bridge the gap between your current ability level and the ability level you need.
    3. Check your health. If your body isn’t responding well, your practice sessions will be difficult and unpleasant.
      • Have you been getting enough quality sleep? Implementing good sleep habits is a major upgrade to the function of your mind and body.
      • Are you eating balanced meals? Are you eating enough? Are you eating too much? Is your diet too low on good stuff and/or too high in bad stuff?
      • Are you getting outside for at least a few minutes of sunshine and “fresh” air? Sunshine is important to your body’s vitamin D level.
      • Are you stressed, or otherwise not at your best mentally? In some cases, professional counseling and/or treatment may be needed. If you are a college student, there is a good chance there are free, discreet counseling services available on your campus. In other cases, taking a break, getting a little exercise, talking something out with a friend or loved one, or just getting a change of scenery might be enough.
    4. Check your mindset.
      • Are you practicing mindlessly or without direction? Try making a short list of goals you would like to accomplish during this practice session. If you’re not sure where to start, make a quick recording (perhaps with the voice memo app on your smartphone) and listen to it to get some ideas about what needs improvement. If you don’t meet all your goals, you can tackle them again tomorrow or re-prioritize.
    5. Check your environment.
      • At what time of day are your practice sessions the most productive and pleasant? Do you practice best in the morning before your body is tired and your brain is full? Or do you get a second wind after the sun goes down?
      • What locations are most conducive to good practice sessions? Sometimes just changing the scenery can revitalize your focus and productivity. Practicing in places with different acoustical qualities can make you hear yourself in new ways and get your creative juices flowing.
      • What distractions are getting in your way? Can you reduce or remove them?
    6. Check your ego. Practicing should challenge you, but not overwhelm you.
      • Are you working on music that is inappropriately difficult for your current abilities? If you have some freedom to choose what you practice, consider working on something else for now and tackling this project later. If you are committed to a performance of something very difficult and have to make it work, be sure to include other things in your practice session that you can be successful at, to keep your motivation primed.

    Don’t let poor practice sessions bring you down—use them to refine your habits and make the next session your best yet.

3 Comments

  1. As a multi-instrumentalist and woodwind technician, I resonate with this. I regularly am presented with a clarinet-shaped object (or saxophone-shaped or flute-shaped) that “needs a tune-up” for the struggling young musician. While I have proven to myself that such instruments can sometimes be put into ‘barely adequate’ state of play, I would have to bill a customer 2-3 times the cost of their $79.95 clarinet (or similar).

    I have, however, made a reasonably nice business out of buying late model Vito/Leblanc clarinets through (the 7214, V40, 7242 models) and putting them in top playing condition, and charging $250 for the nice ones. I have a couple of my own that I use for outdoor gigs and “at risk” settings.

    This level of economy is much more difficult to achieve on flutes and saxophones, and virtually impossible on non-student woodwind variants (bass clarinet, double reeds, all manner of boehm flutes, etc…)

    Reply

  2. I also don’t believe musical instruments should be given with any kind of obligation. “You have to play me a song!”
    Maybe it’s just me, but I think that’s controlling. Yeah, I was given a guitar in lieu of mine being fixed. The new one came with the “Obligation,” and that its Name. Two years later, it’s been out of its case twice while the broken guitar still needs work but it stays out on display. When it’s fixed, it’ll go in the case and the new one will go in the back of the closet. It’s to late to give it back but maybe not to trade in. Doesn’t help that the Guitar Center guy had to “Show Off,” with it neither. I feel like it’s somebody else’s and in just holding for them.
    Thanks for letting me rant here. Hope it changes a few minds about peoples “Gifting,” expectations. Musicians aren’t trained monkeys and not all of us like to give impromptu concerts.

    Reply

    1. I agree with this, I feel like I was given a chore as a gift last christmas. I don’t like playing music so it feels more forceful and pretentious than nice. Like, if I asked for one it would be differant. But I just recieved it and was expected to learn it when my schedule is already packed tight. It does the exact opposite of what a gift is supposed to do which is be a nice, thoughtful way to make somebody happy.

      Reply

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