Where to buy your child’s new school band instrument

ByBret Pimentel

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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    Students and paying gigs

    ByBret Pimentel

    Sometimes I get phone calls from people hoping to hire my students for gigs. I’m delighted when I can pass a professional opportunity on to a hardworking, high-achieving student, but often these calls are troubling.

    Obviously, the callers want students because they assume students will work cheaply. Lots of college students work for not much money, as restaurant waitstaff, custodians, babysitters, and so forth. Those jobs don’t pay much because they are (ostensibly) “unskilled” labor. But “musician” is very much a skilled job.

    The Symphonic Wind Ensemble is the premier wind/percussion ensemble in the School of Music. This highly select, 40-member ensemble represents the finest wind and percussion instrumentalists on campus. The ensemble will perform at this year's Penn State President's Concert at the Strathmore Music Center near Washington, D.C. The President's Concert, a joint production of the Penn State President's Office, the School of Music, and the Alumni Association, has been held at major concert venues including Heinz Hall in Pittsburgh, Kennedy Center in Washington, D.C., and the Kimmel Center in Philadelphia. Last year's concert was held in Carnegie Hall.
    photo, Penn State

    Not long ago I was hired to play lead alto saxophone for a gig backing up a singer, and the contractor asked if I had a couple of students who could play in the section. Then he asked what I thought would be fair to pay them. I told him immediately that he was hiring them to do a professional service, and should pay them as professionals. Happily, he saw my point and agreed to those terms.

    I suppose some hiring parties assume that students will be cheaper than non-students because they are not as skilled, and therefore can’t negotiate higher fees. (This may or may not be the case—I’ve certainly played gigs with “professionals” who would be far outclassed by undergraduate music students.) Sometimes they want to compensate for hiring less-skilled musicians by planning extensive rehearsals. In most cases, I think they would better spend that same money hiring skilled players to sight-read.

    Musicians, enrolled students or not, are specialized, skilled professionals, and should be treated (and compensated) as such.

  • The myth of beginning band instrument “tests”

    ByBret Pimentel
    Photo, Dyvo

    I’ve ranted about this previously, but since we are heading into a new school year, I thought it might be worth covering again and in more detail.

    Some beginning band programs kick off the year by allowing prospective students to “try out” the various instruments, ostensibly to determine which instrument they have the most natural aptitude for. I find this ludicrous.

    Firstly, no one is born knowing how to play the flute or the trombone or the snare drum. And physiological factors are only important at the most basic level: if a student isn’t strong enough to manage the weight of a tuba, then perhaps the euphonium would be a better starting point for this year, and if she can’t comfortably stretch her fingers far enough to reach all the baritone saxophone’s keys, tenor or alto might be a good alternative. Beyond that, and barring significant physical deformities or significant learning disabilities, any student is physically and mentally capable of playing any instrument he or she wishes. If your child’s future band director is examining your child’s lips or fingers and opining about which instrument he or she is destined to play, they are wasting the time of everyone involved.

    Secondly, the first few minutes that a child (or adult) spends with an unfamiliar musical instrument can turn out very differently depending on a large number of factors. When your child spends two minutes trying out a flute and two minutes trying out a trumpet, and is pronounced a budding trumpet virtuoso, is it really because of some genetic predisposition to the trumpet? Or is it that the flute had leaky pads? Or that the band director’s explanation of the flute embouchure wasn’t clear enough? Or that your child accidentally leaned on one of the flute’s trill keys, and the band director failed to spot it? Did your child do better at bassoon than oboe because the bassoon reed was well-balanced and vibrant, while the oboe reed was stuffy and insufficiently soaked? My point is that there are too many potential issues to sort out in a few minutes (perhaps even a few hours—or years), and judging aptitude at that stage is no better than guesswork.

    There is one admittedly understandable reason why even band directors who know better might still carry out the charade of the instrument aptitude test, and that is ensemble balance. The band director needs to balance the success of individual students with the success of the group, and the group’s chances for success are better if the instrumentation is well-proportioned: the right number of students on each instrument. I suspect that some shrewd band directors are “testing” students while keeping mental tallies and telling white lies: “Trust me—the horn is your instrument. I can tell already. Yes, I’m sure.”

    If you really want to know what instrument your child will be good at, ask them which one they want to play. Motivation is the make-or-break factor for beginning instrumentalists. (I do think that it’s worth introducing your child to the various instruments so that they can choose from all the available options, instead of just the ones whose names they already know.)

  • Should I buy a “step-up” instrument?

    ByBret Pimentel

    Should you buy a “step-up” or “intermediate model” woodwind instrument? In most cases, I think the answer is no.

    For flute, oboe, clarinet, bassoon, or saxophone, I think the wisest course, if you can afford it, is usually to start with a high-quality, best-in-class student-model instrument. The advantages of this are:

    • Lower price range (though maybe in the upper part of that range)
    • High-quality student instruments are easier to play than low-quality ones, giving beginners an advantage and a positive experience
    • Quality student instruments can, in some cases, be used all the way through high school band
    • Quality student instruments retain their value better, so you may be able to recoup some of your investment if the instrument falls into disuse or you replace it with a more advanced model

    At some point, the option may be suggested, by an educator or a salesperson, to “step up” to an intermediate model. My experience with these is generally:

    • The price range is not much lower than professional-quality instruments
    • The quality not much better than good student instruments
    • Sometimes they have some cosmetic differences that make them seem more “professional” or luxurious but which do not give any real advantage to the player

    So, in most cases my advice is to skip the step-up instrument. Instead consider investing in some private lessons with a good teacher. These will bring much greater benefits.

    And if you intend to audition for college scholarships, participate in competitions, or otherwise play at a high level, the private teacher is a crucial resource when you are ready to buy a professional model. These are instruments suitable for the demands of college music programs and at least semi-professional playing situations. Because they are expensive, it’s worth choosing one very carefully, and a good teacher can help you figure out what you need, connect with a reputable dealer, and get the best price.

  • What is my old instrument worth?

    ByBret Pimentel

    If you have an old musical instrument and are wondering about its value, here are a few things to keep in mind:

    • Prepare yourself for the very strong possibility that it has little or no monetary value. The vast majority of musical instruments don’t increase in value over time.
    • For most instruments there’s not a reliable “blue book” kind of value. The monetary value is what you can get someone to pay for it.
    • You can check an auction site like eBay to see what people are paying for instruments like yours. (Search for auction listings that actually sold.)
    • Note that sometimes brand and model names get reused over time, and your instrument that has a similar name to an expensive one might not really be the same thing.
    • Condition is very, very important. In the extremely rare case that you have a model that has some significant value, that value usually drops a lot if the instrument isn’t in playing condition. High-level players will usually want to try the instrument before buying, and if it’s not playable then they can’t make sure it’s worth the price.
    • Note that an instrument’s condition may require more than a visual inspection—just because it’s shiny and not visibly damaged doesn’t mean it’s ready to play.
    • Donating an instrument to a school, etc. might be possible if the instrument is of decent quality and in playable condition. If it’s going to require a few hundred dollars’ worth of repair before a student can play it, it may not be worth it to your school’s band program. In other words, if you can’t sell it, it probably doesn’t have value as a donation, either.

    An instrument that can’t be sold or donated for playing might be destined for the garbage. (They often can’t be easily recycled.) If you’re determined to find a new life for it, a local theater might want it as a prop, a thrift shop might accept it as a decorative item, or an instrument repair shop might throw it on their scrap pile to scavenge for parts.

  • Do I need a college degree for my instrumental music career plans?

    ByBret Pimentel

    • Classical or jazz solo artist, chamber/orchestral/theater musician, jazz big band or small group musician, studio musician. None of these “require” a college degree, just very fine playing. But these are lofty goals for making your primary living—very few people, even among the most talented and hardworking, are able to achieve them. But college study can help you develop the skills, the discipline, and the professional network that might get you there. And a college degree that you can fall back on for other employment might be a smart move.
    • Musician in “popular” styles (such as rock, blues, hip-hop, country, and many more). Even if you wish to study these in college, there currently aren’t a lot of options. But some classical or jazz training in a band or orchestral instrument, widely available at universities, will deepen and expand your musical understanding in general, and sometimes present valuable opportunities.
    • Public school music teacher. Yes: in most cases you will need a bachelor’s degree in music education.
    • University music teacher. Yes: in most cases you will need a doctoral degree in something related fairly precisely to the job you are applying for. (Some job listings list a masters degree as a minimum, but even for an adjunct or community-college position, you may well be applying against candidates with doctorates.)
    • Private music teacher, from home or small business. You probably won’t need the degree in order to set up shop, but depending on your local market and your reputation it may be an advantage in attracting students and giving them quality instruction.

    While college study may not be the right choice for every instrumentalist, it’s hard to beat for a well-rounded musical education (with performance study, music theory, music history, and more), plus life skills, networking, and enhanced employability in the general job market.

  • Not majoring in music

    ByBret Pimentel

    I was a very committed college music major. I had picked music as a career years earlier. Being a music student felt like a central aspect of who I was. While I did struggle at times, and had other (perhaps more widely marketable) skills I could have fallen back on, quitting the music-major track never seemed like a real option.

    For me, it turned out well. I was successful in my studies and now have a job that is a good fit and more or less pays the bills. But in my role as an educator and advisor, sometimes I encounter students who are considering changing directions. Here’s what I have to say to those students:

    • You don’t have to be a music major. Even if you’re good at it. Even if you really do love music. Even if friends or teachers think it’s the right choice for you. Even if you have already invested time, money, and effort into it.
    • There are other ways to make music a part of your life. In many cases you can continue to be in college ensembles, take music courses as electives, and maybe continue to receive music scholarships. (Check with your music department.) Beyond college, there are probably opportunities to make music in community ensembles, garage bands, churches, theater productions, lesson studios, volunteer efforts, and more. Even if you never play or sing again, your background in music opens up richer possibilities for you as a listener and patron.
    • There’s time to try something else. Music degrees are intensive and usually thrust you right into lots of major-specific courses right from your first semester. That can feel like a trap, like if you change majors you are wasting semesters you already completed and starting over as a freshman. But in the scheme of things, isn’t it worth extra years and dollars to graduate in a field that feels right to you?
    • This is your decision. People might try to talk you out of switching majors. Being a music major can feel like kind of a club or fraternity/sorority or cult, but it isn’t really. You aren’t betraying or disappointing anyone by doing what’s right for you. Be aware that in some cases professors or fellow students may be thinking about how your decision will affect them or their classes or ensembles. They probably don’t really mean to put their own interests above yours. Good teachers and friends, in the long run, want what’s best for you, even if it isn’t a music degree.
    • But you don’t have to rush into a decision. If music has been your life for years and now you’re having second thoughts, it’s worthwhile to figure out whether you’re dealing with a real change of heart or just some temporary frustration. Sometimes I have seen students transfer out of the music department, only to transfer back in later, now a little behind. If you need to dabble in something else for a while to find out whether music is your thing after all, then go for it. But minimize the flailing if you can. Before making a decision, give yourself time to think things through with a long-term view. Consult with people who know and love you, plus your music professors, plus people in whatever alternative fields you might be considering.

    Music is great but it’s not the right career for everyone. Make your life choices carefully and honestly.

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