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:
- How prominently positioned the instruments will be in your institution or in the community
- How many students or audience members will come in contact with the instruments on a regular basis
- How often you or your institution is asked for purchase recommendations
- How musically influential your institution is in the surrounding community
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).