A sk any band director and they’ll probably agree: managing a percussion section is no small task. With dozens of instruments, ongoing maintenance and complex logistics, percussion is often one of the most demanding aspects of any music pro- gram. It requires time, funding and coordination — three things often in short supply for educators. Before returning to the classroom, I spent several years in music retail as an education resource specialist. I quickly learned how important a knowledgeable sales representative can be — especially NAMM YP I BY BRANDON DITTGEN Support Your Percussion Educators
Familiarity with these systems lets you guide, not just service, but the customer. Know your schools’ budget cycles, and when appro- priate, offer solutions like rental credits, trade-in opportunities or deferred billing. These options go a long way toward ensuring that music programs have the resources they need to equip students for success year-round. Be a Problem Solver. Percussion gear breaks, gets lost or arrives late. In my retail days, the reps who built the most trust were the ones who stepped up with real solutions. Whether it meant loaning equip- ment, sourcing parts or offering long-term fixes, they were there when it mattered most. As a director, I value that kind of support. Be the person who says, “let me help,” not just “let me check.” Problem-solvers become trusted partners and that reflects positively on your entire company. As someone who’s worked on both sides of the industry, I can say confidently that it’s never just about the product — it’s about the students behind the instruments. When retail- ers understand that each sale of percussion equipment shapes a student’s experience, they move from being vendors to becoming part of the educational mission. The best retailers don’t just sup- port music programs, they help shape them. MI Brandon Dittgen is a music educator and composer based in Cincinnati. He currently serves as assistant director of bands for Milford Exempted Village Schools, where he teaches band in grades six–12 and coordinates the district’s percussion program. Dittgen was recog- nized as a 2025 CMA Foundation Music Teacher of Excellence. He is also a member of NAMM YP.
when it comes to percussion. Now, as a band direc- tor, I value those same qualities from the vendors. Here are five ways music retailers can support educators with percussion: Know Your Customer. The best representatives go beyond transactions. They learn who teaches what, how each program is structured and what a typical school year looks like. They keep high-demand items in stock and make it easy for students to purchase exactly what their directors recommend. I’ve seen firsthand how those efforts make a difference. As an educator, I value reps who stay in touch, follow through and treat my program like a priority — not just another stop on their route.
Speak Percussion. You don’t have to be a percus- sionist, but you should speak the language. Directors, especially those without a percus- sion background, often rely on retailers for advice. When you understand how products are used in real-world settings, you become a trusted resource.
“The best retailers don’t just support music programs, they help shape them.”
Communicate. Band directors wear a lot of hats — often juggling multiple ensembles,
repairs and administrative duties. Percussion needs can easily get pushed to the bottom of the list until something breaks or goes missing, then it’s urgent. Clear, proactive communica- tion is essential. Use email for anything that might need to be tracked. When submitting quotes or updates, include complete details: brand, model, quantity and price. If something’s delayed, communicate that as early as possible. Small actions like these make a big difference. Understand the Money. Percussion equipment can be costly, and school finance structures vary widely. Some districts allow standing purchase orders, while others require vendor approval, bidding processes or tight purchasing timelines.
24 I MUSIC INC. I AUGUST 2025
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