Flying With Your Cello

Flying with string instruments can be a stressful experience. With the number of horror stories clogging our news feeds in recent years detailing airline mishaps, it’s no wonder we get nervous taking our instruments with us when we fly.

However, things are beginning to look up; under the new Department of Transportation (DOT) ruling that went into effect March 6, 2015, airlines are now required to allow small instruments in the cabin as part of a passenger’s carry-on allowance. Just like any other luggage, as long as it can fit in the overhead compartment or under the seat the airline cannot refuse to carry the instrument. This ruling is a huge victory for musicians, in particular string players, everywhere.

But what about cellos?

While the DOT ruling is very clear in regard to smaller instruments, it is not as definitive when it comes to larger ones. With cellos, standard practice is one of two things: use a flight case and gate check the instrument or purchase another seat in the cabin. Both options have their benefits and disadvantages, so it is up to you to decide what you are most comfortable with.


Putting Your Cello in Checked Baggage

Airport

  1. Make sure you have a sturdy flight case or cover you can use. Covers normally go around a hard case, while dedicated flight cases are heavy-duty and designed to protect the instrument without additional parts. They can be purchased or rented depending on the type you are looking for. Just as you would a package, mark it clearly as FRAGILE, MUSICAL INSTRUMENT, or any other polite message that states it needs to be treated with care.
  2. Make sure your instrument is padded within the case. Use wadded tissue paper, cloth, or old clothes to support the bridge, fingerboard, and tailpiece as well as around the sides of the instrument to prevent any jostling around inside the case. If you are concerned about the tension, tune your strings down by a half step to a third. The safest option, if possible, is to have a luthier take down the entire setup and have another set it back up when you arrive at your destination.
  3. Understand that others will be handling your instrument and plan accordingly. There is a lot of baggage to handle and things are not always treated as delicately as they should be–we’ve all watched luggage being loaded onto a plane. It is also possible that the case may be opened, and non-players do not always know how to safely put everything back. Emphasize nicely that it is a delicate musical instrument, but make sure steps 1 and 2 are in place as well.

Bringing Your Cello Into the Cabin

Plane Interior

  1. When buying your extra ticket (which should always be done), make sure you are not buying a seat where the cello will block any emergency exits or signs. Airlines can make a case to have the instrument checked if it threatens passenger safety, so check sites like Seat Guru to maximize both your comfort and the safety of your cello.
  2. Contact the airline when you buy the ticket to make sure everything follows their safety policies. This will ensure you are in compliance and allow you to confirm you provided advance notice about the cello.
  3. Some cellists have been able to fit their instruments in the overhead compartments of larger planes. This is something that cannot be guaranteed, but if you are thinking of trying it there are a few things to keep in mind:
    • Board early. If you need to pay extra to do so, it may be worth it to ensure that you have enough space to get your instrument in the overhead first. Like the DOT ruling says, if it fits in the overhead compartment and you put it there first, your instrument is entitled to stay there.
    • Some cases work better than others. Most anecdotal evidence of cello cases fitting in these compartments happened with the Accord cases, specifically the Hybrid and the UltraLight.
  4. THE AIRLINE MAY NOT CHARGE YOU MORE THAN THE COST OF THE SEAT FOR THE INSTRUMENT. To quote directly from the final ruling: “…assuming all of the safety requirements are met, carriers cannot charge the passenger more than the price of a ticket for the additional seat….” This doesn’t mean that if you decide to upgrade your seat your cello gets a free bump. It also doesn’t mean that you are exempt from fees that are normally posed on carry-on items or cargo. What it does mean is that they cannot charge you extra just because a cello is occupying the seat instead of a human being.

General Advice for Flying With a Cello

  1. Check your instrument insurance. There is a limit to an airline’s liability if your cello is lost, damaged, or delayed. In many cases this only covers a fraction of the instrument’s value. Make sure you are covered for air travel by your insurance provider.
  2. Arm yourself with information: bring a copy of the DOT ruling and your airline’s instrument policy with you. Be firm but polite if an issue arises.
  3. Make sure you have a high-quality hard case, such as the ones found in our store or on our website. If you are purchasing a seat for your instrument, make sure it’s a lighter and less bulky case such as Bam, Accord, or Galaxy. If you have a flight cover for checking your cello, make sure the case will fit inside the cover.
  4. Check in as early as possible. It may take longer to do so and get through security because of the instrument. Make sure to leave yourself enough time so that you are not running for the gate. If you comfortable doing so, paying for early boarding will also give you a space advantage when getting your instrument situated in the cabin.

Hopefully with these tips in mind, both you and your cello will have a safe flight. Be sure to visit the DOT webpage for more information about traveling with instruments.


Copyright © 2021 · All Rights Reserved 

Which Edition of Sheet Music Do I Buy?

Your teacher tells you you’re starting a new piece. You go to buy the sheet music, only to discover there are multiple editions to choose from.

Which edition do you choose?

The easy answer? The one your teacher tells you to buy! They like that edition and want you to get it for a reason. If they don’t have a preferred edition, it’s up to you to decide. While finances sometimes dictates that choice, here are a few things you should know about choosing sheet music:

Everyone has different priorities when choosing an edition, but here are some things to keep in mind while browsing sheet music:

  • Is it easy to read? Can you read the notes? Are articulations clearly marked? It’s a good idea to look at different editions in person. Compare them side-to-side and see which one is easier for you to read.

  • Are there a lot of marked bowings and fingerings? These are easily changed with a quick pencil scribble. However, if too many are already marked in the part it can start to look messy if you need to fix them. Some people prefer to get sheet music with the least amount of bowings and fingerings so they can clearly mark their own.

  • Does it lie flat? Does the sheet music lie flat on the stand, or would you have to secure it? Would you have to break the binding to get it to stay where you need it to?

  • Price: More expensive editions cost more for a reason. You may find it helpful, or you may not notice a difference.

  • Is it Urtext? This only applies to certain pieces, but sometimes it’s helpful to use an urtext edition instead of a more modern one.

urtext-graphic

 

We pride ourselves on our sheet music selection at Johnson String. Stop in to compare in person or visit us online.


Copyright 2021 • All Rights Reserved

Departments of JSI: School Programs and Delivery

Departments of JSI

It’s time for another installment of Departments of JSI! This series highlights the different people in our company. We’re able to run such a large business through the expertise of and collaboration between our different departments. Everyone has a skill they use to accomplish everything from coordinating rental trips to selling instruments to repairing instruments to shipping things on time and safely. This series will help you get to know the variety of people and jobs that are done here at JSI.

The School Programs and Delivery department are the people you see at our rental nights throughout New England and New York State. They handle any deliveries, exchanges, and other transactions done through school districts or at rental nights throughout those areas. They are constantly in contact with teachers and school administration to make sure everyone has what they need.  We asked some of them to talk about what they do:

What is your position at JSI?

Justin Davis: School Program/Guitar Specialist.

Natalie Harrington: I’m the Rental Delivery and Programs Manager.

Steve Soucy: I am a School Programs Specialist. This means I work specifically with teachers and administrators of various public and private schools in Massachusetts and New Hampshire to cater our products and services to meet the needs of their string/orchestra programs.

What does a typical day look like for you?

Justin: My days tend to be quite varied. Some days I will be setting up and repairing guitars, others I will be scheduling with and otherwise contacting teachers to ensure that they and their students have all of the proper instruments and accessories that they need to succeed. In the busy times, mainly the start and end of the school year, I will be visiting each of our programs in Connecticut and Southern Massachusetts while also helping out the rest of the team where needed.

Natalie: That depends on the season. My top priority is always working with our teacher clients to ensure we’re meeting their programs’ needs. Sometimes that means driving to schools myself; other times it’s coordinating staff, vans, instruments, and product to send on the road. I always need to be at my desk for at least a few hours a day to answer emails, update our service trips web page, and make sure everything is ready to go for the next delivery.

Steve: In September, I start the day at my desk to answer any questions or fill any requests made by teachers and clients the previous night or earlier that morning. Then it is off to the workshop to review and pack instrument and accessory orders for the event that night. Once we are packed, we head off to the event. There we unpack and prepare for parents and students. Afterwards, we pack up, head back to the workshop, and unload. Once unloaded, we close up the workshop and prepare for the next event.

What is your main instrument?

Justin: I call guitar my primary instrument but violin was my first instrument and I played that all through school as well. I was always a bit of a jack of all trades with experience with viola, cello, mandolin, and ukulele as well.

Natalie: Violin. I started in the Suzuki method when I was four, and continued to play seriously, even becoming concert mistress of my orchestra, until I graduated from high school.

Steve: Electric Bass

Did you go to school for music?

Justin: I went to the University of Maine, double majoring in music education and guitar performance.

Natalie: No, actually: I got my degree in Cognitive and Linguistic Sciences from Wellesley College.

Steve: No, economics.

What is your favorite part of your job?

Justin: My favorite part of my job has always been seeing the excitement that a new player has when they first pickup their instrument. You can just see in their eyes that this will be a lifelong learning adventure for them.

Natalie: I love a challenge! We rent to over 100 school programs throughout New England and New York, so there is a lot to coordinate. Doing my job well involves keeping an eye on a wide variety of staff, procedures, and departments, and anticipating problems so I can solve them before they happen. Never a dull day!

Steve: Working with schools and music teachers. Providing students with a high quality instrument that allows them to enjoy playing music and develop a life-long passion for it.

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Copyright © 2016 · All Rights Reserved · Silvija Kristapsons

Departments of JSI: Front Staff

Departments of JSI

It’s time for another installment of Departments of JSI! This is a series that highlights the different people that work within our company. We’re able to run such a large business through the expertise of and collaboration between our different departments. Everyone has a skill that they utilize to accomplish everything from coordinating rental trips to selling instruments to repairing instruments to shipping things on time and safely. This series will help you get to know the variety of people and jobs that are done here at JSI.

The Front Staff are among the most visible departments in our company. If you’ve ever come in to our Newton location, you have probably talked to a member of our front staff. They handle everything from rentals to selling merchandise to fitting chin and shoulder rests. We asked them to answer some questions about themselves and their jobs:

What is your position?

Justin Davis: Guitar Specialist/School Programs Specialist

Julie Metcalf: I am the Assistant Store Manager at JSI.

Amy Nolan: Store Manager

What is your favorite part of your job?

Justin: Finding the perfect instrument for a player, whether that be a first time student or a more advanced musician looking for a forever instrument. The process of pairing an instrument to a player is very rewarding.

Julie: The most exciting thing we do in the storefront is rentals! All kinds of people, young and old, come in each day looking to play an instrument for the first time. It is magical to share with them my joy and enthusiasm for music. I take care to help them select the right instrument and set them up with evrything they need to get started. Rental customers come in each day with many different needs: maybe the player grew and needs a bigger size, or there’s an open seam on a rental cello, or a violinist has a broken E string. It’s rewarding to be able to help people on their musical journeys.

Amy: Helping everyone from kids to adults find joy in music!

What does a typical day look like for you?

Justin: A typical day can include setting up each guitar to a tight specification to ensure proper playability, intonation, and quality. Working with customers to find them the perfect guitar, mandolin, or ukulele. Scheduling and/or visiting a school program to service students’ instruments to ensure that they are practicing on the highest quality rental instruments possible.

Julie: I work in the storefront every day, assisting customers who come in the door. I do a little bit of everything: helping people find sheet music, advising them on strings, fitting chinrests and shoulder rests, and showing accessories like cases and music stands.

Amy: Everything from renting instruments to new players and helping advancing players select higher quality instruments to working with local teachers to make sure they have everything they need for their students. I enjoy working with staff at all levels of the company to ensure great levels of customer service and a love of music all around.

What is your main instrument?

Justin: I have played violin since the age of 7 and started playing guitar in middle school. I have always been a jack of all trades and “master” of none. Anything with strings I can probably play it. But if you were to force me to pick one, I suppose it would have to be guitar as that is what my degree is in.

Julie: Violin. I have played many different styles of music on violin and viola.  I mostly play fiddle for contra and square dances in the Boston area. I also play jawharp, and I am learning banjo and guitar.

Amy: Cello.

Did you go to school for music?

Justin: I went to the University of Maine and double majored in music education and classical guitar performance.

Julie: I went to Berklee College of Music, where I studied violin performance.

Amy: Yes, University of Southern Maine, studying piano and cello.

Were you a Johnson renter growing up?

Justin: No.

Amy: I was! I had only been playing for a couple of years when I switched to a JSI rental cello and had a great time. Later on my family used the rental equity to purchase a cello once I could play a full-size, and I still play that instrument!

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Copyright © 2016 · All Rights Reserved · Silvija Kristapsons