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What to expect in your first semester studying music in college

  • Jumping in the deep end. In some college majors, you will spend your first couple of years doing “general education” courses (like writing, math, history, and science), and not take many “major” classes until later on. But with music, you usually start on day one with a lot of music classes.
  • A thorough and varied education. During your years in college you will probably study music theory and music history, play the piano (even if you’re not a pianist), sing (even if you’re not a singer), perform as a soloist and ensemble member, conduct, compose, and more. There’s a good chance you will dislike or think you are bad at some of those things, but they are part of your complete career preparation.
  • New teacher-student interactions. In high school you may have gotten used to a band or choir director being your go-to person for all things musical. But in college you may also work very closely with a teacher of your instrument or voice, plus teachers of other musical topics. Your teachers may expect you to meet differing expectations (such as different writing styles or vocabulary or attendance policies). You may find that your teachers put demands on your time that you will have to navigate carefully to avoid conflicts.
  • A dose of adulthood. Expect to take more individual responsibility for most aspects of your education (and life). Your college teachers are more likely to expect you to locate and obtain needed books, sheet music, supplies, instrument repairs, etc. on your own. (They may be willing to suggest some good companies to purchase from.) And if you’re used to a grown-up making sure you get up on time, do your homework, and eat reasonably nutritious meals, you are now that grown-up.
  • Choices with consequences. You may find yourself pulled in multiple directions by school, family, friends, and other activities. Understand that sometimes it may be the best choice for you to attend a family event and miss some classes, but that’s not the same thing as being “excused.” Your grade will probably suffer. And for music students, missing certain rehearsals or performances might have particularly dire consequences, since your absence affects the group.

Studying music in college is fun and rewarding, but also a challenge. Good luck!

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  • What I would do differently as a college music major

    Believe it or not, some of my college students make mistakes that seem somehow familiar. If I could go back to college (and graduate school) and do it all over, here are a few things I might choose to do differently.

    photo, m00by
    photo, m00by
    • Embrace my teachers’ approaches. As readers of this blog know, I tend to be a bit opinionated about woodwind playing, and as a student I was sometimes too quick to dismiss what I was being taught. A better approach would have been to learn enthusiastically and immersively my teachers’ playing styles, thought processes, equipment choices, and philosophies, mine them for every bit of value and wisdom, and wait until later to make better-educated decisions about what to keep and what to discard.
    • Invest more time and effort into fundamentals. Like many students (and professionals?) I spent a fair amount of practice time focused on learning an étude or repertoire piece, as opposed to learning to play the instrument and to make music. The recitals and concerts I was so fixated on at the time seem much less important now, but the time I could have spent working on basics of tone production, finger technique, and interpretation would have paid nice dividends in the years since.
    • Listen to more music. Mostly I did pretty well at attending concerts on campus. And I went to a few things in the community. And I checked out a few recordings. But why let such a large percentage of my musical intake be performances by other students, or by the professors whose playing I already knew well? What if I had made a point of listening to something new every day, even for a few minutes? What kind of musical depth could I have developed by listening to 365 great woodwind players per year?

    Study and practice smart!

  • Auditioning for a multiple woodwinds degree program

    I had an exchange by email with someone today, that I thought might be of use to all you hordes of prospective multiple woodwinds majors out there.

    Hi Mr. Pimentel,
    My name is Mike ________ from _______ University, and I am an aspiring doubler. I have been doing some looking around at graduate schools and programs, and I have found there still are a few programs that still offer doubling. What I have not found are the requirements or guidelines for auditions. I was wondering how an audition for a doubling program would go. What kind of things should I prepare? Do I audition on all the instruments? Thanks for your insight.
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    Q&A: Instrument purchases

    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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  • Your first lesson with your college instrument teacher

    Every teacher is different, but here are some ideas of what you might expect when you take your first instrumental lesson with your new college teacher.

    Before the semester starts: When you have your login information, check your new university email and LMS (it might be something like “Canvas,” “Blackboard,” or “Moodle”—a site you can log into to see announcements, assignments, etc. for each of your classes). Check in daily to see if there are updates from your new teacher, like a lesson schedule or other instructions. When you arrive on campus, locate their office and check their door or bulletin board for information. If they are inside, they would probably be happy to say hello and answer your questions.

    Usually lessons are scheduled on a one-on-one basis. I look over my students’ course schedules, decide when I am going to have each student’s lesson, and post a link to an online calendar on the LMS, plus a copy on my door. Other teachers sometimes have a system for you to sign up for your own lesson time. Do this ASAP so you can get a time that works well with your schedule!

    The teacher might have instructions for you to show up with something prepared to play, or not. Usually I personally don’t expect them to have prepared anything for their first-ever lesson, and instead we will spend that time getting oriented and assigning materials to prepare for the next week’s lesson. (Returning students usually know what will be expected, and should show up with some scales, an étude, and the repertoire piece we picked out at the end of the previous semester.)

    If you have previously taken lessons or have worked on études or repertoire pieces on your own, make a list of those.

    The day of your lesson: If you can possibly squeeze it into your schedule, find a practice room and warm up a little. Pick out a good reed if applicable.

    Gather your materials:

    • Your instrument and all accessories
    • Your list of previous repertoire, if you have any, and your copies of the most recent ones you worked on. Your teacher may find this helpful in evaluating your level and deciding which materials to have you work on next.
    • Something to take notes with. I personally don’t mind if you use a digital device for this, but some teachers might prefer that you don’t have your phone out during your lesson. Bring a notepad to the first lesson just to be sure.
    • A pencil. In fact, stock your instrument case, backpack, etc. with pencils. Keep one in your pocket or purse. You will need one for every lesson, practice session, and rehearsal. Pencil, not pen.

    Lesson time: Show up at least a few minutes early, with your instrument assembled and ready to play. (You may or may not actually play in this first lesson, but it’s good form to come prepared.) If you feel nervous, take a few deep breaths. Use the restroom. Mute your phone.

    Some teachers tend to run a little late, and they might be finishing up the previous lesson when you arrive. Unless they have instructed otherwise, I think the best thing to do is go ahead and knock right at the stroke of your lesson time so they know you are there. Give a real knock that they can hear, not a timid/quiet one they might miss. Then wait patiently if they take a few more minutes to finish up with the previous student.

    Call your teacher by their academic title (like “Dr. Pimentel” or maybe “Professor Pimentel” if you’re not sure), unless they tell you to call them something different. You might be able to figure this out by reading their biography on the university website, or by checking to see how they sign emails they send to you.

    Don’t try to write down everything they say, but taking a few notes might be appropriate. If you need another moment to write, or you’re afraid it will be rude to look down at your notepad, you could try asking, “Do you mind if I write that down?” Definitely write down what they assign you to work on for next time.

    Depending on your teacher’s personality, the teacher might dive right into lesson stuff, or may want to spend some time getting to know you.

    After the lesson: Review your notes and edit/clarify if needed while it’s still fresh in your mind. Make a practicing plan for the week to make sure you prepare your assigned materials as best you can for next time.

    If your teacher asked you to purchase some repertoire or other materials, do this right away! I usually try to help my students out with a photocopied page or two so they can get started while they wait for their own copies to arrive, but some teachers may expect you to get it on your own and be prepared by the next week. (Tip: if you’re at a large music school, the university library might have copies of some materials, which you can use until you get yours.)

    If, during the week, you realize you are unclear or have forgotten something, visit your professor during their office hours (probably posted on the LMS and/or their door) or send an email. Much better to ask for help while there’s still time to practice, than to show up unprepared at your next lesson.

    Make friends: You will hopefully be meeting some other students who play your instrument and take lessons from your same teacher. (If you arrived on campus early for marching band camp, that’s a nice advantage.) Those people remember what it was like to be brand new, and if they are nice (they probably are!) they won’t mind answering some questions about the teacher, giving you a few lesson tips, and maybe even loaning you an old étude book while you order your own. Sometimes the students know the processes and procedures (signing up for classes, getting your ID card, logging into the LMS) better than the professors do.

    Have a great semester!

  • Teaching a college woodwind methods course

    If you are teaching a woodwind methods course, you might be interested in my book.

    It’s that time of year again when I start getting more traffic to my posts on teaching my woodwind methods class, and sales of my textbook start to pick up. If you’re scrambling to prepare a new woodwind methods course, here are a few resources:

    What questions do you have about teaching woodwind methods classes? Let me know.

  • Where to buy your child’s new school band instrument

    There are pros and cons to the places you might shop for a band instrument. Here’s what you need to know, bad news first:

    • Big-box stores (Walmart, Costco, etc.): these may already be your favorite places for one-stop back-to-school shopping, but a musical instrument probably shouldn’t be on your list here. The “instruments” they sell are generally of such low quality that in-the-know musicians joke that they are “instrument-shaped objects.” They are unlikely to play well (and maybe won’t play at all!) as purchased. And many instrument repair shops will refuse to fix them, since they are made with such inferior materials that they will break under the normal strains of routine repair and maintenance. One piece of good news: these stores usually have robust return policies.
    • Online megastores (Amazon, etc.): these can be a mixed bag quality-wise. There are some good instruments being sold by third-party music retailers, but mostly “instrument-shaped objects.” Even if you have some idea of what brand and model you want, it’s difficult for megastores to adequately screen out knockoffs. And even genuine, reputable instruments that have lots of positive reviews are a risk: if it gets jostled too much in shipping, it may need a few hundred dollars’ worth of repair. Your best case scenario at that point is paying what it costs (a lot!) to ship a saxophone back for a refund.
    • Online garage sales or auction sites (eBay, Craigslist, Facebook Marketplace): here you can sometimes find low prices on used instruments of reputable brand, but condition is a major concern. An instrument in poor condition is very frustrating to play, and can make a beginner feel like a failure (and want to quit). Even if you are mechanically-minded, there can be serious playability issues that can’t be identified visually. By the time the school band director or private teacher points out that the instrument has serious flaws, the sale is usually final.
    • Local music stores: there is some good news here, but you should still be cautious. The sales staff are likely to have some idea what the band director will and won’t find acceptable, and may accept returns or exchanges within a reasonable window. They may also be able (and anxious) to sell you a maintenance plan, which will cover routine repairs. (These plans can sometimes be a decent deal for a beginner-level instrument. But be aware of the store’s incentives: the less time they spend servicing your instrument, the more profitable the repair plan is for them.) Be aware of upselling, too: I have had particular problems with things like accessory kits. Some stores may also want to convince you that, say, a wooden clarinet will sound better than a plastic one. This really isn’t worth it at the beginner level, and is sometimes a step down, like buying a car with engine problems and expensive leather seats, instead of a reliable one with vinyl.

    For the best results, consult closely with the school band director, or, even better, with a reputable private teacher who is going to give your child lessons. (Band directors are good at lots of things, but yours may not be a specialist on that particular instrument.) They will have a good sense of what brands and models to look for, and where to buy them for good condition, quality, and price. A private teacher may be able to play-test the instrument for you, to make sure it’s a good one and already in playable shape.

    Having taught private lessons for several decades, it’s always a relief when the parent of a prospective student reaches out to me before buying an instrument. It’s not an intuitive way of doing things, but it can save a lot of disappointment and extra expense. The teacher won’t think it’s strange.

    As with most worthwhile pursuits, you do usually get what you pay for. But if you’re able to provide your child with a quality musical instrument in good condition, it can be a hobby or even a career that brings a great deal of satisfaction and growth. (But for now, maybe stop by the big-box store and get some bulk earplugs for you!)

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