In the course of the last two weeks I have lost track of how many instruments I have had to hurriedly fix for students so they could play in an ensemble or have their lesson. One saxophone with a key that wouldn’t close correctly was fixed with three bits of very skillfully place sticky tape. Flute springs were put back in place via instructions over my webcam and a baritone saxophone was made roadworthy with adhesive backing from a picture hook. Mouthpieces were ruled to be unplayable and reeds were relegated to the rubbish bin.
Where do teachers learn all of these skills? All emergency problems are discovered at crucial moments when it is impossible to visit a repairer. Although there are many fine wind instrument repairers around there are also a number who leave question marks in the instrument cases when they are returned. As a teacher we need to acquire these skills.
Out of necessity I have learnt enough to get myself out of trouble and I have always had a genuine interest in anything to do with my instrument. I learnt to dismantle my clarinet and even more importantly put it back together again soon after I started to play. I learnt how to diagnose problems and how to replace pads in a rough and ready sort of way. I developed a real respect for needle springs very early on as they are not only lethally sharp but also frustrating beyond belief if they get broken off at the key post. I don’t have the same feeling of dread about replacing cork and I know what a great friend a rubber band can be. My skills are very basic and they have got me and my students out of trouble on many occasions. However no one appreciates a highly skilled, professional repairer more than me.
(It is such a joy when you get an instrument back after it has been restored to a better than new condition.)
How does a young teacher answer a parent who asks is a “Flying Goose” a good brand of reed to buy and is a Pink Parrot a good make of saxophone? The internet has launched a staggering array of unknown instruments of mysterious brands and colours onto the market. If unsure, ask an unbiased repairer who will quickly tell you with a shudder which instruments are totally unrepairable. In the foyer of the Broken Hill Musicians Club, hanging from the ceiling in pride of place, is a chandelier made out of 12 brand new shiny saxophones. I have met many other saxophones that I would like to add to this work of art.
Another skill is being able to asses the quality of second hand instruments on the behalf of students. What may seem like a bargain may well turn into an instrument that is off the road more days than it is on. Even new instruments from reputable makers may have small faults – nothing must be taken for granted. Repairs to an instrument bought second hand can sometimes turn a bargain into a costly embarrassment especially if it’s a saxophone.
One assignment I used to give to all of my woodwind pedagogy students at the Sydney Conservatorium was to go and test drive as many student instruments as they could and then write a report on each of the different makes and models. These reports made for hilarious reading and what the music retailers didn’t realise was that students were all competing for a special prize for the best bit of retail spin they could possibly find.
Teaching can seem incredibly repetitive at times but there are so many things as a teacher you need to know so make it your mission to gain even more expertise by being able to fix your instruments and try to find time to test the myriad assortment of new instruments that are flooding our music shops and supermarkets.
My best tip – if you ever need a new instrument case it will probably be much cheaper to buy one of these cut-price new instruments. Hang the instrument on the wall and enjoy your new bargain case.