All pianos require maintenance, and acoustic pianos more than digitals. New acoustic pianos need to be properly prepared before they're deployed. All acoustic pianos should be tuned regularly, and regulated as needed. Acoustic pianos with record and playback systems also may need periodic calibration of their embedded systems. See the accompanying article for more information on the maintenance of acoustic pianos in institutions.
As the foregoing discussion suggests, there are many intersecting practical, artistic, and financial factors to be considered when making an institutional purchase of a piano or group of pianos. This raises the question: Who should make the purchase decision?
No single answer fits all situations. By tradition, a church's decision-making process may be handled by the music director, the pastor or priest, or perhaps by a lay committee. In a school of music, decisions may be delegated to the chair of the piano department, the chair of the music department, the dean of fine arts, or some other individual or faculty committee.
In many instances, well-intentioned individuals with no knowledge of pianos find themselves having to make a final decision. It is important that those involved in the process commit themselves to understanding the intersecting issues, and bring into the decision-making process appropriate people from the artistic, technical, and/or financial sides. At a minimum, that means the piano technician, and the most advanced, or most frequent, professional users. If a digital-technology-based instrument is being considered, someone should be involved who can speak to those technical issues as well. A department chair who has not actually used the technology in question may or may not be in a position to evaluate it.
Before negotiating a price or sending a proposal out to bid, it's usually a good idea to do some price research. This can be tricky, however.
For example, if you or someone you know simply calls up a dealer and asks for a price, you're unlikely to be told the lower "institutional price" that you might ultimately get. Some dealers are reluctant to quote prices over the phone, or are prohibited by their suppliers from doing so. Others will refuse to quote a price if they know that the purchase will ultimately go out to bid.
Your institutional purchase may benefit the dealer or manufacturer in ways other than the profit from the sale. Therefore, when discussing your possible purchase, don't hesitate to mention:
The bottom line is this: You won't know what the final price will be until an official representative of your institution actually sits down with the dealer principal or until bids are awarded. Before you reach that point, however, and for planning purposes, you can make discreet inquiries and put together some estimates. As a rule of thumb, and only for the purposes of budgeting, if you subtract 10% to 15% from the dealer's "sale" price, you will likely come close to the institutional price.
If you represent a school that's required to send purchase requests out to bid, you may not have much of a role to play in negotiating a price. However, the way in which you word your bid will have a lot to do with the bids that you receive and the instruments that the bidding rules will compel you to purchase.
For example, if you really want Brand X with features A, B, and C, be sure to write your bid description so that it describes--within acceptable guidelines--the instrument that you wish to purchase, and rules out instruments that don't fit your needs. If your bid description is loosely written, you may receive low bids for instruments that don't meet your requirements.
Because pianos can last a very long time, any piano-buying decisions you make today for your institution can have consequences for a generation or more. Therefore, it pays to take the time to think carefully about your institution's present and future needs, to budget sufficient funds for purchase and maintenance, and to consult with individuals both within and outside your institution who may have special expertise or be affected by your decision. If you take the time to do this properly, then your constituents--be they students, faculty, worshippers, or concert-goers--will enjoy the fruits of your work for years to come.
George Litterst (www.georgelitterst.com) is a nationally known music educator, clinician, author, performer, and developer of music software. In the last role, Mr. Litterst is co-author of the intelligent accompaniment program Home Concert Xtreme, the electronic music-blackboard program Classroom Maestro, and the long-distance teaching program Internet MIDI, all from TimeWarp Technologies (www.timewarptech.com). ¤
FALL 2009 -- page 83
TABLE OF CONTENTS
Hybrid & Player Pianos
New-Piano Buyers’ Reference