Q&A: Instrument purchases

ByBret Pimentel

Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.

What starting models do you recommend as an entry point for each woodwind?

Hi! What brand of clarinet would you recommend for an intermediate high school clarinetist who plans on majoring in music education?

I suspect that you’re both looking for specific brand recommendations, which I mostly avoid doing on the blog, for reasons I’ve highlighted previously (tl;dr: equipment recommendations tend to outlive their usefulness—people cling to them while the market changes around them). Sorry. What I’ll do instead is offer some general advice that applies to beginners, college music majors, woodwind doublers, everybody.

If you’re buying an instrument on a budget, because you’re a beginner, or because you’re a doubler picking up a secondary instrument: buy the highest-quality student-model instrument you can afford. Get good, current, targeted advice from your private teacher (contact/hire one before you buy your instrument!).

If you’re in, or about to be in, college: consult with your professor. Period. Head off to college with the instrument you already have, and let your professor guide you through the process of buying what you need.

As far as I’m concerned, that’s what most woodwind players need to get through their complete formal musical training: a good beginner instrument, and then an instrument suitable for college-level study. “Step-up” or intermediate instruments generally aren’t worth it—they cost most of what a college-suitable instrument costs, but don’t play much better than a good beginner instrument. If your budget is bigger than necessary for a student-level instrument but not big enough for a college-appropriate one, buy a good student model and save up the rest for the next purchase.

For clarinetists, saxophonists, and oboists, often the college-level instrument is a true professional model, and you won’t ever need anything fancier. Professional level flutists and bassoonists may have more of a need(?) for a nicer instrument beyond their undergraduate degrees, and these can sometimes be in the price range between a new car and a new house.

How do I deal with the cost of buying all of these woodwind instruments for college?

If you’re thinking of studying multiple woodwind instruments as a college undergraduate, firstly I recommend that you think that through carefully, and get in touch with the music faculty at the school(s) you are considering. I think for most undergraduate students (including my past self), it makes sense to major in just one instrument, for reasons I’ve addressed previously, and at many schools high-level undergraduate study of multiple woodwinds is impossible or impractical. I think that for most aspiring doublers, graduate school is a better place to dig deeply into it.

To address your question, though: college-suitable woodwind instruments are expensive, but almost certainly less expensive than tuition or room and board at an American university or maybe even a few semesters’ worth of textbooks. If you’re college-bound in the USA, a pro-level clarinet or oboe is probably the least of your financial woes.

If you’re planning to pay your way through school with scholarships, then that might not be money you’re able to access for things like instrument purchases. Depending on your personal financial values, it may be worthwhile to get student loans to cover the cost of a new instrument, and pay them off at relatively low interest after you graduate.

Depending on the instrument and the school, you may be able to borrow or rent a suitable school-owned instrument while you make arrangements to purchase your own.

Thanks for the questions! Good luck with your instrument purchases.

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    A couple of weeks ago I put out a call for questions, in honor of today being the fifteenth anniversary of this blog. A bunch of the questions boiled down to: what advice do you have on woodwind doubling? Here are a few answers:

    • Be a beginner on each instrument. Take the time to work through beginner materials (starting probably with pages of whole notes!), scales, and so forth. Resist the temptation to dive in on advanced or even intermediate repertoire.
    • Get comfortable with a long timeline. You can’t reach the highest levels of playing on a bunch of instruments in the same time that your peers are reaching the highest levels on single instruments, unless you’re a lot more talented than me. And you can’t afford to buy a section’s worth of top-quality instruments in that same time frame, either, unless you’re a lot richer than me.
    • Prioritize what motivates you. Lots of aspiring doublers seem very concerned about what instrument they “should” learn next. There’s no roadmap, and it’s hard to predict what gigs might come your way in the future. So you might as well devote your time, effort, and money to whichever instrument you feel most excited about adding to your collection.
    • Be skeptical of instruments, accessories, method books, etc. that are marketed as “for doublers.” If you want to play clarinet like a clarinetist, use what the clarinetists use.

    Some other readers asked about the “secrets” to practicing multiple instruments.

    As far as I know there aren’t any; if you want to play three or five instruments well, plan to put in three or five times as many hours. I’ve posted previously about an approach to an instrument rotation for practicing, but it really depends on you particular set of instruments, abilities, and goals.

    Another reader asked how hard it was for me to learn secondary instruments.

    Beyond general musicianship skills (like reading music or blending into an ensemble), I don’t think there’s a lot of useful cross-training effect. In other words, no instrument is a good shortcut to learning another, at least not learning it well. But I do think there are underlying concepts that can be useful for thinking of the woodwind family and its techniques as part of a unified whole. (I address those concepts in my book Woodwind Basics, or sprinkled throughout the last 15 years of blog posts.)

    Someone else asked about when to get serious about woodwind doubling (high school? undergraduate studies? graduate school?), which is something I’ve opined about previously.

    Everyone’s circumstances are different, but for my undergraduate music majors (and for me when I was in that stage) there are a couple of things that need to happen in their development: gain a certain level of mastery at operating the instrument itself, and develop a certain maturity of musicianship. While these things should be in development concurrently, achieving the first is ultimately a prerequisite to achieving the second. (You can’t fully execute a mature musical idea if you’re held back by technical deficiencies.) I think it can be a fun side pursuit to pick up an additional instrument or two in high school or college, but I think many people won’t be ready to pursue professional-level playing on multiple instruments until graduate school, and then won’t achieve it within the time frame of a graduate degree.

    Another reader asked questions about pursuing a career in playing in musical theater orchestras: is it worthwhile to go on to graduate school? How do you get more gigs (cold-call theaters? take lessons with Broadway players)?

    Graduate degrees (or any degrees) aren’t necessary for just about any kind of gig work, although they can provide useful training to improve your skills, gain some experience, and network with fellow musicians.

    I would say don’t call theaters. Venues are unlikely to hire musicians directly. Instead, you want to connect with the musical directors or contractors who are likely hiring the orchestra members. Direct outreach to those folks might be effective in some cases. But a lot of musical directors, if they call their usual players and find them unavailable, will ask them for recommendations, so the musicians already playing the gigs you want are both your competition and your best chances at getting hired. Taking lessons is a possible way to get a foot in the door. Sometimes just catching them after a show, introducing yourself, complimenting their playing, and handing over a business card can be enough to get you on their radar.

    Additionally, a career exclusively playing musicals would be an oddity. Most woodwind players who do musicals do lots of kinds of gigs. Develop your skills, build your network, and see what possibilities come your way.

    Someone else asked a question about the history of multiple woodwinds degree programs.

    This isn’t something I have dug into enough to answer with any confidence, but it would make a nice thesis or dissertation for someone working on a multiple woodwinds graduate degree. I do know that I’ve heard lots of folks confidently make conflicting claims about which degree programs were first or biggest or best, or about how the number or configuration or quality of degree programs has changed.

    Thanks for the thoughtful questions!

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