The oboe is a unique and expressive woodwind instrument known for its bright, penetrating sound. Let's explore the key components that make up this fascinating instrument and how they work together to produce music. Reed and Staple The heart of the oboe's sound lies in its double reed. Made from two pieces of cane, the reed is attached to a metal tube called the staple. When air is blown between the reeds, they vibrate to create sound. The quality and condition of the reed significantly impact the instrument's tone and pitch. Upper Section (Top Joint) The upper section of the oboe connects to the reed and houses several essential components: Tone Holes and Keys: The body features tone holes covered by pads. Pressing keys opens or closes these holes, allowing the player to produce different notes. Octave Keys: These keys enable the oboe to play higher pitches by shifting the air column, effectively doubling the pitch of the note. Tenons: Cork-covered joints that connect the upper section to the lower section and the bell, ensuring a tight seal and proper alignment. Lower Section (Bottom Joint) The lower section is wider and contains additional keys Bridge Keys: These connect the upper and lower sections, facilitating smooth transitions between notes. Conical Bore: The gradually widening interior shape contributes to the oboe's distinctive tone. Bell The bell is the flared end of the oboe where sound exits. Its shape and size influence the instrument's tonal quality and projection.   The oboe's anatomy is a harmonious blend of design and function, with each part playing a vital role in producing its unique sound. From the reed to the bell, understanding these components enhances our appreciation of this expressive instrument.

Greetings! Since my retirement at the end of the 2023 school year I have worked for three different music companies across two states - Missouri and Texas. What I have observed and learned from this experience has led to many thoughts and conversations about how I would do things differently if I knew then what I know now about instruments and accessories but especially music stores and the behind the scenes preparations that make an instrument drive and the school music experience successful for all.  Music companies work all year long to make instrument rental season a success. Why? because their livelihoods depend on it, literally. And also because their business is connected to your business. The financial foundation of any school music company is the rental business, which generates income for months and years in perpetuity. Without this income, the music stores that supply your programs with instruments are incapable of dealing with the demands of supplying instruments and supplies to hundreds of music programs and thousands of music students. Instruments don’t just show up on your doorstep. Actually, these days they do, but not until they go through an extensive process that begins immediately after a rental season ends. Here is the basic process: Instrument and accessory preferences are assessed and set for the next school year by you (the director) and your music store Ed Rep. Examples of these are: instrument brands and models, mouthpieces, ligatures, reeds, lubricants and method books. And last but not least - program numbers. These numbers are estimates of how many beginning students your program will have next school year and how many on each instrument offered. Music vendors use this information to order the instruments and supplies needed for the next school year. Directors and Ed Reps set instrument drive dates and classify them as in-person or online. Some directors still want instruments at the drive - what the heck? So many things can go wrong when a student leaves with an instrument without any training on how to properly assemble it. Instrument and accessory quantities are sourced by someone in the company who must keep pace with very specific and current product knowledge as well as extensive business relationships. The person who does this job is usually very close to the owner(s) of the company if not the owner.  Instruments are purchased. This means that they are actually paid for by the music store BEFORE they get to you. This requires incredibly large amounts of money and/or credit. Ordering begins in October just after fall rental season dies down.  Educated estimates and guesses are part of the equation. In other words, if you have a program where students rent instruments from a local store and you do not SPECIFICALLY ask for certain instruments and accessories, then the music vendors have to GUESS! That’s right - guess. This is not at all comfortable for them, as you can imagine. But they do it anyway because as I said before, their livelihoods depend on it. Instruments and accessories begin arriving by the pallet load in January and must be unloaded and stored. Some companies will open every case, unwrap and prep each instrument and even play test them to insure that the student and the teacher do not have to deal with problems or damages due to the un-packaging process. This is a HUGE service and advantage to the teacher! As rental season approaches, music stores update online preference lists for each school and program. Their warehouses are organized and stocked and procedures set in place for when the orders start coming in by the thousands. Programs that did a Spring rental drive will have an August or September delivery date set and the orders will take all summer to prepare. A large band program with 150 beginning students might take a week to complete. The computer work to complete a single online instrument rental with accessories takes more than a moment, believe me!  Instruments and accessory orders are filled and organized. Sometimes music stores run short on certain instruments or accessories and of course method books. This means that an emergency re-order has to happen during EVERYONE'S busiest moment of the year! Because of this very scenario, the term “back order” was invented and is not a pleasant experience for either the customer or music store. In order to avoid this scenario refer to step #1 of this process, Instrument and accessory preferences are set with the director and Music Store Ed Rep! Orders are delivered to the schools, picked up at music stores or (in some cases) mailed directly to homes. Everyone is happy…except the Ed Rep who now has to track and deliver back ordered items. See step #1 on this list to avoid making yourself, your student and your Ed Rep sad. What would I do differently if I knew then what I know now? Educational Representative or Road Rep - Your Ed Rep is an invaluable tool in your tool box and should work for you, your program and your students. They should have an open line of communication and be available to solve problems. They should be knowledgeable and educationally savvy. That is to say they should know their way around certain educational obstacles. You should have them saved as a contact on your phone and know their email. They should visit you regularly. A rep that only communicates once a month in an email is of no use in the real world. I had two favorite and memorable Ed Reps and they were both named Mike, but with different last names. If I could go back and do it again I would have used them and the resources of their company even more. Exclusivity- Exclusivity with a local music store streamlines all processes and focuses the work of the music store and the Ed Rep on YOU, YOUR STUDENTS and YOUR PROGRAM. Can’t be exclusive in Springfield? Has anyone defined exclusivity? How exclusive do you have to be before….?  I would be as exclusive as possible… if I could go back and do it again. Brands, Models and Accessories - I would have been incredibly specific on this. Mouthpieces are the biggest upgrade you can do on a student level instrument. If you can get an upgraded mouthpiece and a Rovner-like clarinet ligature with every clarinet order with no increase in rental price, wouldn’t you? What if you could start your trombone students on an F-attachment instrument? Have you asked? You don’t get what you don’t ask for. So what if every single student doesn’t have one, most will though because it is in your school preferences when the order is made.  Take a tour - ask your Ed Rep to take you on a behind the scenes tour of the warehouse or prep area. Ask what can be upgraded and the cost. What can be done for no cost increase. Look at all of the accessories available. Not all oils are the same. Synthetic oil should be used on some (Yamaha) valves because of the close tolerances. How about trombone slide lubricant? There are many different products and you need to be specific. What reeds can be included with woodwinds? Again, be specific about reeds and strengths because most students stay with the same brand and strength when they go to re-purchase. Answer all of these questions before the end of January. I would have done this every year with all of the local music stores. It would have made an enormous difference in what my students came in with the following year. Don’t be a “Brand” director - This is a term I learned recently in my new state of Texas. Brand directors simplify the process by going all one brand with no other thought process. Why would you want all of your instruments to be one brand when there are other choices that are just as good or better? I may have been a brand director at one time but then I had an experience with a Trevor James flute from the Hoover Music Store liquidation. I had never heard of the Trevor James brand before but I played it for a week then went back and purchased the remaining three that nobody wanted because they were so called “off brand”. That was an education and a win! Look into Backun clarinets, Di Zao flutes and Shires brass instruments if you want to get educated a little more. There are so many choices these days. I would have picked other brands and models besides the standard brands…I just didn’t know what I didn’t know.  Information Dissemination - Especially in the Springfield community with two major suppliers I would make sure that each music store had my program’s supply preferences (even if you use one exclusively). I would also bring a printed copy to each physical store because there are always parents who think they can get a better deal or haggle with a store employee. On the other hand there is always a store employee who doesn’t know what your program supply preferences are or doesn’t access them online. All of this is extra effort but it can pay off. Teamwork makes the Dreamwork - Plan your instrument and supply preferences as a team. That includes directors and teachers that may not be in your building regularly such as high school directors. Over ninety percent of students entering high school instrumental music programs will still be playing the instrument they started on in sixth grade, and most will finish their music experience on it as well. That being said, all instructors should be involved in the process of choosing the instruments that will predominantly be used in a program. I also do not recommend telling your entire program to re-equip in high school!  Spring or Fall - If I were still doing the same job as when I left Springfield (Wilson’s Creek and Cherokee Band) I would definitely move to a Spring instrument drive. In a large program this gives everyone involved the time to get the job done right and as a result have less problems to deal with when the actual teaching begins. The counselors and schedulers in Springfield ask for next school year elective choices by the end of January so getting lists of students signed up for band or orchestra should be possible by April. I didn't say it would be easy, but it should be possible! Old School vs New School Ordering - Almost all of my instrument drive nights were in-person events with instruments and accessories on site. There were always inconsistencies between the multiple vendors, out of stock items and other issues that had to be dealt with in arrears. Let me make this clear. I would NEVER EVER, EVER, EVER do that again! In the post-pandemic world, we simply have the parents (customers) order online through a website link with instrument, accessory preferences and prices all pre-loaded. Parents can place an order in 5 minutes as opposed to waiting in lines at an in-person event or even at a physical store. I would then set a September delivery date that would allow me (the teacher) enough time to set class procedures in place and teach fundamentals. Having all of the preferences set in place with all of the vendors will produce much better results on the day of delivery. I would even give that day a name such as D-Day or B-Day or Christmas in September! Advocate and Act - Many parents and students view band and orchestra as just a class. I firmly believe that band, orchestra and choir are an educational and life experience that covers a large part of a student's time in school. Use your position to advocate for all programs in Springfield and not just your program. This means go to meetings, participate, adjudicate and advocate. It also means march your band in the parade, keep the band in the stands until the end of the game, take the spring trip, compete at the highest level that your group is capable of and set goals both reachable and lofty. Speak out when you have a position to be heard and take action when action is required. Most importantly, always strive to make the experience a better one for your students, your program, your school and community and yourself. Jim Zinecker Retired Band Director

At Ernie Williamson, we understand the importance of providing high-quality instruments to aspiring young musicians. Our rental pool is carefully curated to offer a range of options that cater to different skill levels and budgets, while always prioritizing performance and reliability. We work closely and communicate openly with each manufacturer we carry to pass along feedback and ensure that every instrument we carry is one we stand behind. Before adding a new brand to our rental pool, instruments are tested and evaluated by our expert repair team, and we routinely seek feedback from area directors. Every instrument we carry must meet or exceed our standards for playability, durability, tone quality, and appearance. Manufacturers must also be able to provide replacement parts to ensure repairs are possible when needed. Even after a manufacturer has been added to our approved list, each shipment is inspected and tested for quality to ensure that the instruments we carry are ones that our area band programs would be proud to have in their students' hands. Let's take a look at some of the brands available for our band rentals Eastman Winds This family of brands, which additionally manufacturers Eastman, Haynes, Shires, Willson, Malletech, and Laskey has a widely respected reputation for quality design and craftsmanship. As an extraordinarily diverse company, Eastman is highly regarded for creating some of the finest musical instruments and accessories, and stands at the forefront of the creative development and marketing of instruments heard around the globe. Eastman's growing reputation for excellence lies in the talent and accomplishment of its designers, makers, and company philosophy, an integral part of the long and storied history of one of the most fascinating musical traditions the world has known. The Backun brand of clarinets is especially well-respected as a top instrument brand. Backun clarinets are known for their excellent intonation, ensuring accurate tuning across the instrument's range, and their responsive action, allowing for precise articulation and control. Like many brands within the Eastman family, Backun constantly innovates, incorporating advanced techniques and technologies into their instruments     Cannonball Cannonball Musical Instruments are known for their innovative designs and superior quality control.  This brand built its reputation as a world-class manufacturer of hand-made saxophones and has since expanded its offerings to include a variety of high-quality student instruments. Manufactured in Taiwan, finished instruments are shipped to the Cannonball facility in Sandy, Utah where each woodwind is re-regulated and checked for a perfect seal, among other technical duties. Each trumpet and trombone is checked for perfect working order. This attention to detail ensures that Cannonball musical instruments are consistent in playability and workmanship.      Di Zhao Flutes Di Zhao flutes are known for their quality, affordability, and smooth key action. Di Zhao Flutes was founded in 2006 with the goal of producing the world’s finest student flutes. After two decades in the music industry, Di Zhao recognized the need for a high quality and affordable instrument that would help young musicians around the world achieve their dreams. To provide a top-quality instrument for young musicians is to secure the future of music; these words have become the company’s guiding principle across all endeavors.       Carol Brass Trumpets CarolBrass trumpets are unique because they are handcrafted in Taiwan by skilled artisans using premium materials and are known for their value and quality.  The company also produces their own valve blocks, which are used by other manufacturers around the world - this means that even if you're not familiar with the CarolBrass name, if you've played trumpets from other major manufacturers, you may have already experienced the CarolBrass quality valve blocks without realizing it!    John Packer UK-based company, John Packer Musical Instruments are international designers, manufacturers and suppliers of woodwind & brass instruments popular with professional and amateur musicians alike. JP has been making instrumets for over two decades. This brand was founded with the purpose of providing students to quality instruments at an affordable price point.  Their student-level instruments are beginner-friendly and offer quality unrivaled at this entry-level price point.      Yamaha  Renowned for their exceptional craftsmanship and innovative designs, Yamaha instruments are a favorite among educators and students alike. Yamaha is known for its precision in manufacturing and high-quality materials, ensuring that each instrument is built to high standards. Their instruments are built to withstand regular use and maintain their sound quality over time. In essence, Yamaha's dedication to quality, innovation, and craftsmanship, ensures that their instruments are reliable, durable, and produce a great sound, making them a popular choice among musicians worldwide          Jupiter, CXL, and Mapex  This family of brand, distributed by KHS America are known for being affordable, durable, and well-suited for students and beginners, while still offering decent quality and features that can cater to more experienced players. Jupiter instruments offer a good balance of quality and affordability, making them a popular choice for students and schools. They are known for being durable and reliable, able to withstand the wear and tear of regular use, especially for beginners. Jupiter instruments often incorporate ergonomic features, making them comfortable and easy to play, especially for young or developing musicians.     Conn-Selmer The Conn Selmer portfolio includes some of the most respected brands in the industry.  These brands have been a staple in band rooms for decades and can be relied upon to provide quality and durability for students across a wide range of instrument options.            At Ernie Williamson, we stand behind every instrument we rent. Our experienced repair technicians are readily available to address any issues that may arise, ensuring that your students can focus on their music-making. Choosing the right instrument for your student is an important decision. We are committed to providing you with the highest quality instruments and the best possible rental experience. We encourage you to visit our store to explore our selection and speak with our knowledgeable staff.

Explore a hands-on career that blends craftsmanship, music, and technical skill in a field with high demand and rewarding opportunities.            At Ernie Williamson Music, we’re proud to have a team of skilled instrument repair technicians who work behind the scenes to keep instruments in top condition. We’re often asked, “How do I become an instrument repair technician?” Whether you're a musician yourself or simply love the idea of working with musical instruments, becoming an instrument repair technician can be a rewarding path. This guide explains the main routes into the field, the skills needed, and what you can expect from a career in instrument repair.    Pathways to Becoming an Instrument Repair Technician There are two main ways to get started in the world of instrument repair: through apprenticeships or formal schooling. Both options offer hands-on learning, but they differ in pace and structure. 1. Apprenticeships An apprenticeship is a hands-on learning experience with a mentor, typically conducted in a repair shop. This approach offers a flexible and informal setting, where training is woven into the shop's everyday work. Pros: Apprenticeships are well-suited for those who prefer a slower, individualized approach. They are often less costly than formal repair schools and may offer some modest pay opportunities during the apprentice’s time training. Many apprentices specialize in repairing one or two types of instruments, allowing them to develop a deep focus and high proficiency.  Cons: Because apprenticeships are less structured than formal schooling, they can take longer to complete and may not cover the wide range of instruments that a repair school would.    2. Repair Schools Repair schools provide a structured, fast-paced curriculum designed to prepare students for entry-level employment as repair technicians. Programs are typically one to two years and focus on hands-on training supported by formal lessons in repair processes and theory.  Pros: Repair schools cover a wide range of instruments, preparing graduates as generalists who can tackle various repair needs. Cons: The intense pace may be challenging for some, and although graduates are well-prepared, they often enter the field as “advanced apprentices,” requiring further on-the-job experience to gain speed and mastery. Repair schools maintain advisory committees of experienced technicians and manufacturers to ensure that their training stays relevant. For students who enjoy structure and can manage the intensity, repair schools offer an excellent foundation in this highly skilled trade. For anyone interested in band instrument repair, the National Association of Professional Band Instrument Repair Technicians (NAPBIRT) is an invaluable resource. NAPBIRT supports apprentices and professional techs alike with resources, events, and networking opportunities. Similarly, The Guild of American Luthiers is a great resource for those interested in fretted or orchestral string repair.     General Career Expectations in Instrument Repair Becoming a repair technician is the beginning of a lifetime journey of learning. As with any skilled trade, it takes years of practice to master instrument repair fully. Here’s what you can expect from a career in this field:  Ongoing Learning: No matter how much you learn in school or during an apprenticeship, hands-on experience with different instruments is essential. Repair techs often attend workshops and training throughout their careers to stay current on techniques and tools.  Problem-Solving Skills: Each instrument presents unique challenges, and technicians must develop strong problem-solving skills to assess and fix complex issues.  Physical Dexterity: Precision is critical. Whether adjusting small parts, replacing pads, or polishing finishes, repair work demands patience and fine motor skills.  Customer Service: A good technician doesn’t just fix instruments; they’re also a trusted advisor to musicians. Listening to customers, understanding their needs, and explaining repairs are all part of the job. As of 2024, the average annual salary for a qualified instrument repair technician in the U.S. ranges from approximately $35,000 to $63,000. Entry-level roles or apprenticeships typically start at the lower end, while technicians skilled in complex repairs and efficient work tend to earn more. Geographic location also impacts salaries, with technicians in high-demand or high-cost areas generally earning above the national average. On average, a band instrument technician typically earns slightly more than a guitar repair technician. Band instrument technicians tend to have a broader and more specialized skill set, often servicing a wider variety of instruments, which can increase their earning potential. Meanwhile, guitar repair technicians, especially those focused on fretted instruments, have a pay range that is generally similar but may fall slightly lower on average due to the narrower instrument focus. If this sounds like a career path that interests you, we encourage you to explore training options or reach out to local repair shops. Instrument repair is a unique trade, and there is a growing demand for skilled technicians across the country. Joining this field means being part of a vital community that supports musicians by keeping their instruments in top shape. For further information on band instrument repair training, visit the NAPBIRT website to explore upcoming workshops, certifications, and more resources.  

This issue of the More to Start, Fewer to Quit (MSFQ) tips comes from Marcia Neel, senior director of education, Yamaha and education advisor, Music Achievement Council.   RECRUITMENT TIP   Recruitment is a year-round job so if you haven’t already established this year’s visitation schedule to schools, NOW IS THE TIME. It’s important to visit feeder schools at least a couple of times each month. The best recruiting model is for educators of the school with the older students to also serve as educators for the beginning students at the school whose students will eventually participate at the next. Students will want to continue as they transition from one school to the next if they know and have a relationship already established with that teacher. In addition, becoming acquainted with the parents of these future students by attending their events and inviting them to participate in your events will help. Parents are more likely to encourage their students to continue if they already know the music teacher at the next school. Whether recruiting from elementary school to middle school or middle school to high school, this model just works! Simply stated, there is security in familiarity.   RETENTION TIP   Engage current students in this process. Younger students get a kick out of being recognized in a positive manner by their older peers. Contact the former educators of this year’s students to ask how all might work together to encourage these students to serve as leaders/mentors in the programs of their former teachers. Students love helping their former teachers and these educators appreciate seeing how their former students have matured in their music studies. Collaborations like these may also serve as projects and volunteer hours for students involved in Tri-M, Key Club or similar leadership activities. It has been found that those students who are more actively engaged in retention efforts themselves tend to also continue because it reinforces their buy-in and enhances the personal satisfaction they get from giving back.   SUCCESS TIP   Show how much you appreciate the support of the school’s faculty and staff by planning a Valentine’s Day Luncheon with entertainment provided by soloists and ensembles from the school’s various music programs. They will appreciate the generous gesture and enjoy seeing the students perform in a setting outside of their regular classrooms. The performers might also use this opportunity to perform selections from this year’s Solo & Ensemble event. Your administration will appreciate the feeling of excitement it will bring to the entire school. Consider involving the music parents in some fashion and plan on making this an annual event.   Thanks,   Marcia Neel   Senior Director of Education, Yamaha   Education Advisor, Music Achievement Council

All accomplished athletes devote the beginning of each training session to warming up, and musicians should follow their lead. Just like athletes, musicians need to prepare their bodies and minds for the demands of practice. Why Warming Up Is Important Warming up is crucial because it readies you physically and mentally for playing music. Although playing music might not seem as physically demanding as sports, it is surprisingly physical and can lead to injuries without proper preparation. For instance, violinists can strain their neck and shoulder muscles, while brass players risk damaging their lips, causing painful swelling and fatigue. These injuries can make playing difficult or even impossible. Musicians who warm up find their bodies more relaxed, responsive, and ready to play. Warm-ups serve various purposes. They prepare our bodies for performing by enhancing breathing and air movement, limbering up fingers and hands, and engaging the fine muscles of the embouchure for wind players. Equally important, warm-ups engage our brains in listening and making musical sounds, contributing to the development of overall musicianship skills. Mentally, warming up helps you focus on learning new music. Without a warmup, many musicians struggle to concentrate, leading to unproductive practice sessions. Warming up sharpens your focus, making practice more productive and less frustrating. How To Warm Up Effectively Student musicians need to be trained in proper individual warm-up techniques, completed before the group warms up as an ensemble. Basic individual warm-ups usually include the following elements: Stretch: Use your body a lot while playing, so stretch the parts most used in your playing. Violinists, for instance, should ensure their necks, shoulders, and arms are loose and limber. Percussionists should stretch their fingers, wrists, arms, neck, and shoulders. Stretching helps prevent tension that can inhibit playing. Start Easy, Then Increase Difficulty: Begin your warmup slowly and gradually increase the difficulty. Start with something comfortable and then progress to more challenging exercises. For wind players, this includes long tones at medium to soft dynamic levels, mouthpiece buzzing, and simple lip slurs. Articulation variations, including slurring and tonguing patterns, are also essential. Deep Breathing Exercises: All musicians, including percussionists, should incorporate deep breathing exercises. These help with relaxation and prepare the respiratory system for the demands of playing. Be Intentional: Avoid going through the motions. Take your warmup seriously and use it to focus on playing. This will enhance the productivity of your practice sessions and improve the quality of your playing. Incorporating these elements into your warmup routine will help ensure you’re physically and mentally prepared for practice. Stretch well, start easy, engage in deep breathing, and be intentional to make the most of your warmup.