Interview Questions for Percussion Performance

My percussion experience spans a wide range of instruments, from the standard orchestral timpani and snare drum to more specialized instruments like the vibraphone, marimba, xylophone, bongos, congas, and various hand percussion instruments. I’m also proficient with less common instruments, including the rototoms, glockenspiel, and various drum sets. This diverse experience allows me to adapt to a variety of musical styles and demands.

• Orchestral Percussion: Years spent in symphony orchestras have honed my skills in reading complex orchestral scores and coordinating with other percussionists to achieve precise rhythmic accuracy and dynamic control. For example, I’ve performed Mahler’s Symphony No. 6, requiring meticulous synchronization of timpani rolls and other percussive elements.
• Solo & Chamber: I’ve also had extensive experience performing solo and in smaller chamber ensembles, which requires a greater degree of musical independence and improvisational ability. This often involves programming my own recitals, requiring detailed understanding of different instruments’ capabilities and ranges.
• World Percussion: My understanding extends to various world percussion instruments, allowing me to contribute to diverse musical projects. I have performed with groups focusing on Afro-Cuban rhythms, using congas, bongos, and batá drums, demonstrating my ability to both execute complex rhythmic patterns and understand their cultural context.

My practice routine is structured and adaptable. It’s not just about technical proficiency; it’s about musicality and expressive control.

• Technical Exercises: I dedicate time to technical exercises daily, focusing on rudiments, sticking patterns, and developing independence between limbs. For example, I’ll practice paradiddles, flams, and rolls on the snare drum, then translate that to other instruments.
• Repertoire Work: A significant portion of my practice time is spent on repertoire. This involves meticulously analyzing scores, working on individual passages, and gradually building towards a cohesive and nuanced performance. I regularly record myself to monitor progress and identify areas needing improvement.
• Musicality & Interpretation: I focus on phrasing, dynamics, articulation, and musical storytelling, ensuring that the technical skill translates to emotive expression. This often involves listening to recordings of leading percussionists for inspiration and different interpretive approaches.
• Physical Conditioning: Percussion playing demands physical stamina and endurance. I incorporate regular physical exercise to maintain strength and prevent injuries, which includes hand exercises, stretches, and aerobic fitness.
• Instrument Maintenance: Regular maintenance of instruments is vital. This includes cleaning, tuning (especially for pitched percussion), and replacing worn-out parts. For timpani, this involves meticulous attention to tuning and head maintenance.

My approach to reading and interpreting scores emphasizes understanding the overall structure and intent of the composer. It’s a layered process:

• Initial Overview: I begin by getting a holistic sense of the piece: its form, tempo, dynamics, and overall mood. I look for patterns and recurring motifs.
• Detailed Analysis: I then dissect the score, paying close attention to rhythmic notation, articulation markings, dynamic indications, and any special instructions from the composer. For example, understanding the subtle difference between a staccato and a marcato articulation is crucial.
• Instrument-Specific Considerations: I consider the idiomatic possibilities and limitations of each instrument. Understanding how to best achieve certain effects on a specific instrument is critical, and I adapt accordingly. For example, different mallet choices for the marimba can drastically change the tone and timbre.
• Contextual Understanding: I try to understand the piece’s historical context, the composer’s intentions, and its place within their larger oeuvre. This enhances my understanding of the piece’s emotional depth.

This multi-layered approach allows me to create a performance that is both technically accurate and artistically meaningful.

My performance experience encompasses a broad range of musical settings:

• Orchestral: Years of playing in various orchestras have instilled in me the discipline and precision required for large-ensemble performance. I have successfully performed demanding percussion parts in major orchestral works requiring exceptional timing, coordination, and dynamic control.
• Ensemble: In chamber ensembles, my role often involves collaboration and interpretive dialogue with other musicians. I’ve participated in numerous chamber groups, focusing on modern compositions and exploring contemporary percussion techniques.
• Solo: Solo performances have pushed me to develop my musical voice and interpretive skills. I have curated and performed several solo recitals showcasing my versatility and technical capabilities, adapting my repertoire to suit specific performance venues.

Each of these contexts demands unique skill sets, forcing constant adaptation and refinement of my abilities. The collaborative nature of ensemble playing and the introspective nature of solo performance are both crucial for my development as a percussionist.

Learning new pieces is a structured process for me:

• Initial Listening: I begin by listening to multiple recordings of the piece, paying attention to different interpretations to get a feeling for its character.
• Score Study: I meticulously study the score, analyzing rhythms, melodic lines, and harmonic progressions. I break down difficult passages into smaller, manageable sections.
• Technical Work: I practice technically challenging passages separately, focusing on accuracy and fluency before integrating them into the larger context of the piece.
• Integration & Phrasing: I work on connecting sections, building musical phrases, and ensuring a coherent narrative throughout the piece. I pay close attention to dynamics and articulation to shape the musical expression.
• Performance Practice: I rehearse the piece in its entirety, focusing on refining the interpretation and addressing any remaining technical challenges. This stage frequently involves receiving feedback from teachers or mentors.

This approach allows me to develop a deep understanding of the piece and deliver a nuanced and engaging performance.

Improvisation and rhythmic interpretation are integral to my musical identity. I approach improvisation with a foundation in rhythmic theory and a strong sense of musicality:

• Rhythmic Exploration: I regularly practice improvising rhythmic patterns using various instruments, often working with different meters and time signatures.
• Melodic Improvisation: I’m comfortable improvising melodies on pitched percussion instruments like the marimba and vibraphone, often influenced by different musical genres.
• Interactive Improvisation: I’ve collaborated with other musicians in improvisational settings, focusing on active listening and responding spontaneously to their musical ideas.
• Rhythmic Interpretation: Even in written pieces, I bring a sense of rhythmic interpretation, focusing on groove and feel. This involves subtle variations in tempo and articulation to enhance the musical expressiveness.

For example, in Afro-Cuban music, improvisation is essential, requiring both a strong understanding of complex rhythmic cycles and the ability to interact dynamically within the ensemble.

Adapting to different acoustic environments is crucial for a percussionist. My approach involves a combination of preparation and on-the-spot adjustments:

• Pre-Performance Sound Check: I always conduct a thorough sound check before a performance. This involves experimenting with different mallets, stick techniques, and playing dynamics to ascertain how the instruments sound in the specific acoustic space.
• Mic Placement & EQ: For amplified performances, I collaborate with sound engineers to optimize microphone placement and equalization, ensuring a balanced and clear sound across the frequency spectrum. This ensures that every instrument is represented clearly and effectively.
• Dynamic Adjustments: I adjust my dynamics according to the acoustics of the space. A reverberant hall might require less forceful playing compared to a smaller, drier room. I listen carefully to the overall blend and adjust accordingly.
• Spatial Awareness: I’m mindful of how sound travels in different spaces. I consider the placement of instruments to create a cohesive and balanced sonic landscape.

For example, performing in a large cathedral demands a different approach compared to a smaller concert hall. My adjustments will involve altering my dynamic range and techniques to overcome the challenges imposed by the unique reverberation of each space.

Tuning percussion instruments is a multifaceted process that varies greatly depending on the instrument. It’s not just about achieving a specific pitch, but also about ensuring the instrument’s overall resonance and responsiveness.

• Timpani: These require careful adjustment of the tuning screws, often using a tuning hammer and a precise electronic tuner. The process involves striking the drum and adjusting the screws until the desired pitch is achieved. It’s crucial to understand the relationship between screw tension and pitch, considering the drumhead’s temperature and humidity can slightly alter tuning. I often use a combination of visual observation (checking the drumhead’s tension) and sonic verification (electronic tuner).
• Xylophone/Marimba: These are tuned using tuning bars. Adjustments require tapping each bar with a mallet, and using a tuning hammer to carefully adjust the bars themselves. This can be meticulous work, often requiring fine adjustments to achieve the desired intervals. It is essential to work systematically, starting with one octave and ensuring intervals are accurate before moving on.
• Snare Drum: Tuning a snare drum involves adjusting the tension of the batter (top) and resonant (bottom) heads using the lugs and tension rods. This requires a balance – too tight can result in a harsh sound, too loose a dull one. I often tune the resonant head first, then the batter head, repeatedly adjusting both until the desired tone is achieved. I’ll often check resonance by listening to the sound produced when the drum is lightly tapped.

My process always involves meticulous listening, paying close attention to the sound’s character and ensuring uniformity of tone across the entire range of notes where applicable. Ultimately, tuning is an iterative process that requires patience and a well-trained ear.

Maintaining percussion instruments and equipment is vital for their longevity and performance. My routine focuses on both regular cleaning and preventative maintenance.

• Cleaning: I regularly wipe down all instruments after each use, removing dust, sweat, and any debris that might accumulate. I use appropriate cleaning cloths and solutions for various materials (wood, metal, plastic). For more delicate instruments like marimbas, I use gentle cleaning agents.
• Preventative Maintenance: This varies greatly by instrument. For example, I regularly inspect timpani for any damage to the drumheads or the shell. I also lubricate the tuning screws to ensure smooth operation. For mallets, I ensure the shafts are secure and the heads are in good condition. Regular lubrication of all moving parts on larger instruments like vibraphones is crucial.
• Storage: Proper storage is key to preventing damage. Instruments are stored in cases or covered to protect them from dust and environmental factors. I monitor the climate conditions of the storage space to reduce potential issues from temperature or humidity fluctuations.

I also schedule regular professional maintenance for more complex instruments to prevent issues and prolong their life. Proactive maintenance saves time and money in the long run. Keeping a detailed maintenance log helps me track this and allows me to anticipate potential issues.

A solid understanding of musical notation and rhythmic complexity is essential for any percussionist. I can readily decipher complex scores, understanding both the melodic and rhythmic aspects of the written music.

Rhythmic notation in percussion music often employs intricate rhythmic figures and subdivisions, including triplets, quintuplets, and more complex groupings. I interpret these markings accurately, understanding the subtle nuances of timing and articulation. For instance, a score may use sixteenth-note triplets to denote a rhythmic pattern within a larger beat. I’m proficient in interpreting these figures both independently and within their musical context.

Beyond standard notation, I’m comfortable working with various percussion specific notations that might be included, including specific techniques. This might range from simple markings indicating dynamics (mf, pp) to more technical instructions, such as the specific way to strike a cymbal (choke, ride), which profoundly affects the sound and its role within the musical context. Understanding these details is critical for delivering a musically accurate and expressive performance.

Effective time management and rehearsal preparation are crucial for success. I use a structured approach to rehearsals, aiming for efficiency and quality.

• Detailed Score Review: Before any rehearsal, I carefully analyze the score, identifying challenging passages and potential logistical issues. I break down complex sections into smaller, manageable segments.
• Prioritization: I prioritize areas that need more attention and allocate sufficient time for practice. This involves focusing on technical challenges and musical interpretations.
• Structured Rehearsal: During rehearsals, I have clear objectives, focusing on building gradually from smaller sections to the complete piece. Regular checkpoints help assess the progress and allow time for adjustments.
• Effective Practice: My practice sessions are often focused on targeted improvement, practicing small sections repeatedly until fluency and accuracy are achieved. I often record my practice sessions to assess my own performance.

Using a digital calendar and practice schedule helps keep me organized. This approach allows me to efficiently prepare for performances while leaving ample time to address any unforeseen issues. I also ensure appropriate warm-up routines are performed prior to each practice and performance.

Effective collaboration is paramount in ensemble settings. My approach focuses on clear communication, active listening, and mutual respect.

• Open Communication: I openly communicate my ideas and concerns, actively listening to the perspectives of others in the ensemble. This helps establish shared musical goals and understanding.
• Balanced Contribution: I contribute actively to the group’s dynamics, finding a balance between assertion and collaboration. This allows for a more cohesive musical outcome. I am careful to ensure that my contribution complements rather than interferes with the other performers.
• Active Listening: I pay close attention to what others are playing and adjust my performance to create a balanced and unified sound. This involves not only being sensitive to dynamics and rhythm, but also adapting to slight variations that may naturally occur.
• Problem Solving: In case of challenges during rehearsals, I propose constructive solutions, always considering the overall musical integrity and the unique contributions of each musician.

Successful ensemble playing depends on shared vision and a collaborative approach where everyone values the contributions of others, resulting in a richer musical experience for both the performers and the audience.

I have extensive experience with electronic percussion instruments, including drum machines, samplers, and digital percussion pads. This encompasses both performance and sound design.

In performance, I’m comfortable using these instruments to create both intricate rhythmic patterns and textural elements. I can integrate them seamlessly with acoustic percussion instruments to achieve a unique blend of sounds. I’m familiar with various software like Ableton Live, Logic Pro X, and other Digital Audio Workstations (DAWs) for sequencing, creating samples, and manipulating sounds in real-time during a performance.

My understanding extends to sound design, including creating custom sounds and manipulating existing samples for a performance. This may involve manipulating parameters such as pitch, decay, and reverb. In addition, I am familiar with MIDI controllers and integration of electronic percussion with other electronic instruments and synthesizers.

Beyond performance, I’m also familiar with the technical aspects of electronic percussion, including patching, troubleshooting equipment, and utilizing various sound modules.

Handling pressure and unexpected challenges during a performance is a critical skill for any musician. My approach involves preparation, adaptability, and a focus on maintaining composure.

• Thorough Preparation: Meticulous rehearsal and preparation are my first line of defense against pressure. The more familiar I am with the music, the more resilient I am to unexpected situations.
• Mental Strategies: I utilize mindfulness techniques to manage anxiety and focus on the present moment during a performance. Focusing on my breathing and remaining calm are crucial.
• Adaptability: Should unexpected challenges arise, my training allows me to adapt quickly. For example, if a mallet breaks, I can quickly switch to an alternative, or if a sound system malfunctions, I can make necessary adjustments to maintain the performance.
• Problem-Solving: I approach unexpected issues calmly and methodically, evaluating the situation and implementing the best solution. This is where experience is crucial in finding creative solutions that maintain the performance’s integrity.

My experience has taught me that maintaining composure under pressure is not just about technical skill, but also a mental game; the ability to remain focused and adaptable is paramount. Ultimately, a positive attitude and confidence built through consistent practice are essential for handling unexpected challenges successfully.

My experience leading percussion sections spans over fifteen years, encompassing diverse settings from orchestral performances to contemporary music ensembles and marching bands. I’ve conducted sections ranging in size from small chamber groups to large ensembles of over thirty players. My approach prioritizes clear communication, individual attention, and fostering a collaborative spirit.

I start by building a strong foundational understanding of the music through detailed score analysis and rhythmic drills. We focus on developing ensemble cohesion through meticulous rhythmic precision, dynamic control, and nuanced articulation. I regularly conduct sectional rehearsals, focusing on problem areas, providing tailored feedback, and ensuring individual players’ strengths complement each other. For example, in a recent performance of Stravinsky’s Rite of Spring, I helped a struggling timpanist master a particularly complex rhythmic passage by breaking it down into smaller, manageable sections and using rhythmic exercises to build his stamina and accuracy. My goal is always to create a unified and powerful sonic entity, where individual musicianship enhances the overall performance.

Incorporating diverse cultural rhythms and styles is integral to my musical approach. It’s not just about mimicking the sounds; it’s about understanding the cultural context and the emotional weight behind the rhythms. I achieve this through extensive research, active listening to authentic performances, and studying with masters of various musical traditions.

• Research: I delve into the history and cultural significance of the rhythms, examining notation systems and learning about the instruments’ construction and playing techniques.
• Immersion: I actively seek opportunities to learn directly from musicians from different cultural backgrounds. This might involve workshops, attending live performances, or even travelling to regions known for specific musical traditions.
• Transcription and Adaptation: I often transcribe complex rhythms and adapt them for performance within a larger musical context, ensuring stylistic authenticity while also maintaining musical integrity.

For instance, in a recent project involving West African drumming, I spent months studying the traditional techniques of djembe and dundun playing, working with a master drummer to understand the nuances of the rhythms and their communicative power. This deep understanding allowed me to authentically incorporate these rhythms into a contemporary composition, respecting their cultural roots while bringing a fresh perspective to the piece.

My strengths lie in my rhythmic precision, versatility, and collaborative spirit. I’m highly adaptable, comfortable working with a broad range of instruments and musical styles. My meticulous attention to detail ensures rhythmic accuracy and a refined performance. I excel at fostering a positive and collaborative atmosphere within an ensemble, leading to stronger performances.

However, I recognize that perfection is a continuous journey. One area I’m actively working on is improving my improvisational skills on the marimba. While I’m proficient in reading and performing complex scores, expanding my improvisational abilities will further enhance my creative versatility. I’m actively addressing this weakness through regular practice sessions, jamming with other musicians, and participating in workshops focusing on improvisation.

During a performance of a challenging contemporary piece requiring intricate mallet technique on the vibraphone, one of the mallets unexpectedly broke mid-performance. The piece demanded a precise and sustained tremolo effect, making a simple replacement impossible without disrupting the flow of the music.

My immediate response involved quick thinking and resourcefulness. I calmly assessed the situation and improvised a solution using a spare mallet from another instrument (a slightly smaller and lighter one). I adjusted my technique, slightly altering the tremolo to accommodate the different weight and size, ensuring the sonic quality remained consistent with the original intent. The slight change went unnoticed by the audience, and the performance proceeded without further incident. This incident highlighted the importance of adaptability, quick problem-solving, and a deep understanding of my instrument.

Troubleshooting instrument issues during a performance requires a calm, methodical approach. My process generally follows these steps:

1. Assess the Problem: Quickly identify the nature of the malfunction. Is it a tuning issue, a broken part, a sticking mechanism, or something else?
2. Immediate Solution: If a quick fix is possible (e.g., a simple tuning adjustment), I implement it immediately. If not, I try to find a workaround or substitution.
3. Communicate: If the problem requires assistance, I discreetly communicate with stagehands or technicians while maintaining the performance flow. This ensures minimal disruption.
4. Adaptation: If the issue cannot be resolved immediately, I might adjust the performance to accommodate the problem, omitting difficult passages or simplifying parts where needed. The audience usually won’t notice small adjustments.
5. Post-Performance Evaluation: After the performance, I thoroughly examine the instrument and address the root cause of the problem to prevent future occurrences.

For example, if a snare drum loses its tension during a performance, I’d assess if I can quickly adjust the tension using the tuning screws. If not, I’d switch to a backup snare if available or possibly omit the snare drum parts for the remainder of that section, minimizing the disruption.

My understanding of percussion instrument techniques is extensive, encompassing diverse playing styles and specialized approaches for various instruments. My expertise extends across a broad spectrum, including:

• Stick Control: Mastery of various stick grips, strokes (single strokes, double strokes, paradiddles), and techniques for different dynamic levels and articulation styles. This encompasses rudimental drumming and its application to different instruments like snare drum, timpani, and xylophone.
• Mallet Technique: Proficiency in using various mallets to achieve diverse timbral effects on instruments like marimba, vibraphone, xylophone, and glockenspiel, including traditional and modern mallet techniques.

I continually refine my technique through ongoing practice and research, experimenting with different approaches and incorporating new techniques into my repertoire. This ensures versatility and allows me to adapt to various musical styles and compositional demands.

I have extensive experience in recording and studio sessions, having participated in numerous projects ranging from classical orchestral recordings to contemporary music productions and even film scoring. My experience encompasses both live recording and overdubbing sessions.

In the studio environment, I’m adept at working with engineers to achieve the desired sonic qualities. This involves understanding microphone placement techniques for different instruments, adjusting playing dynamics to match the recording environment, and employing various techniques to achieve specific effects. I’m comfortable with various recording software and hardware and can effectively troubleshoot technical issues that might arise during a session. For instance, I’ve worked extensively with close-miking techniques for snare drums to capture the nuances of the stick impact and shell resonance, and with distant miking for timpani to obtain a broader, more spacious sound.

My ability to adapt to the studio setting, coupled with my technical proficiency and understanding of audio engineering principles, allows me to contribute effectively to a diverse range of recording projects, ensuring a high-quality final product.

Composing and arranging for percussion ensembles is a fascinating process that demands a deep understanding of the instruments’ unique timbral and rhythmic capabilities. It’s not just about writing notes; it’s about crafting a sonic tapestry. My approach begins with conceptualizing the overall mood and character of the piece. Then, I consider the specific instruments available – are we working with a traditional ensemble (vibraphone, marimba, xylophone, timpani), a more contemporary setup (including drum set, prepared piano, or metallic percussion), or a mixed group? This dictates my choice of rhythmic patterns, melodic lines, and textural layers.

For example, when composing a piece for a four-mallet marimba quartet, I might explore intricate polyrhythms and complex harmonic structures, exploiting the instrument’s wide range and dynamic capabilities. Conversely, a piece for a smaller group with a focus on Latin rhythms might involve simpler melodies but highly syncopated rhythms, incorporating elements of clave or other traditional patterns. I always prioritize clarity and balance in the arrangement, ensuring each instrument has its moment to shine while contributing to the overall cohesive sonic picture. I’ve worked on pieces ranging from purely abstract compositions to those that incorporate specific thematic elements or even visual components.

My teaching philosophy centers around fostering a holistic musical development in my students, going beyond mere technical proficiency. I believe that a strong foundation in rhythm, reading, and technique is essential, but equally crucial is nurturing their creativity, musicality, and self-expression. I encourage experimentation and exploration, allowing students to discover their individual voice and style within the constraints of the technical requirements. Learning should be a joyful journey of discovery, not a rigid process of rote memorization.

My classes incorporate a variety of teaching methods, from traditional individual instruction to ensemble rehearsals and collaborative projects. I strongly advocate for active listening and feedback among students, as it fosters a collaborative learning environment. I also personalize my approach, tailoring lessons to each student’s learning style, strengths, and weaknesses. For instance, a student who struggles with rhythmic precision might benefit from hands-on rhythmic games and improvisational exercises, while a more technically advanced student could explore more complex compositional or transcription projects.

Working with students of diverse skill levels requires adaptability and a nuanced approach. For beginners, I prioritize building a solid foundation in basic technique and musical literacy. This involves simple rudiments, rhythmic exercises, and gradual introduction to notation. I use positive reinforcement and gamification to keep them motivated and engaged. With intermediate students, I delve deeper into more complex techniques, musical styles, and ensemble playing. I encourage independent learning and problem-solving, pushing them to develop their own musical voice. For advanced students, I focus on refining technique, exploring advanced concepts like improvisation, composition, and transcription, and preparing them for performances at a higher level. The key is to constantly challenge each student at their respective level, setting achievable goals that progressively increase in complexity.

For example, I might have a beginner work on simple paradiddles, while simultaneously guiding an advanced student through a challenging contemporary percussion piece. The goal is to tailor the material to the individual and provide differentiated instruction, promoting progress for everyone in a respectful and supportive environment.

Assessing student progress is an ongoing process, not a one-time event. I use a multi-faceted approach, combining formal assessments with informal observations. Formal assessments might include written exams on music theory, practical exams demonstrating technical proficiency, and performance evaluations in solo and ensemble settings. Informal assessments are equally vital and involve regular observations during practice sessions and feedback on ongoing projects. These observations provide a more nuanced understanding of the student’s progress and challenges.

Providing constructive feedback is crucial for student growth. My aim is not to criticize but to offer guidance and encouragement. I focus on specific aspects of the student’s performance, highlighting both strengths and areas for improvement. I provide detailed, actionable suggestions, explaining the rationale behind my feedback. For instance, instead of simply saying ‘your timing is off,’ I’d pinpoint the specific rhythmic patterns that need improvement and suggest techniques to enhance rhythmic precision. I always conclude with positive reinforcement, emphasizing the student’s progress and potential.

My understanding of musical genres and their percussion styles is extensive. I’m proficient in various genres, each possessing a distinct sonic landscape and rhythmic vocabulary. For example, classical music often features precise articulation, controlled dynamics, and a wide range of timbres achieved through the use of malleted percussion instruments. In contrast, jazz emphasizes improvisation, syncopation, and a more dynamic approach using instruments like the drum set, congas, and bongos. World music offers a vast array of rhythmic complexities, employing unique instruments and traditions from different cultures. West African music, for instance, relies heavily on polyrhythms and complex interplay between different drum types. Similarly, Latin music features clave rhythms, varied percussion textures, and dynamic rhythmic patterns, using instruments such as timbales, congas, and claves.

My expertise extends to understanding the historical evolution of percussion within each genre. This allows me to appreciate the subtleties and nuances of different styles, enabling me to effectively teach and perform diverse musical works. Understanding the historical context enriches the experience and enhances the understanding of the music.

Staying current with the latest trends in percussion performance requires a multifaceted approach. I regularly attend percussion festivals and masterclasses, both nationally and internationally, to witness cutting-edge performances and interact with leading percussionists. I actively engage with the online percussion community, following prominent artists, educators, and researchers on social media and various online platforms. This keeps me abreast of the latest techniques, instruments, and developments in the field. I also subscribe to relevant professional journals and magazines, exploring articles and research papers that delve into contemporary compositions, pedagogical approaches, and technological innovations within percussion performance. This continuous learning ensures I stay informed about current trends and can effectively incorporate this knowledge into my teaching and performance.

My long-term career goals encompass a blend of performance, teaching, and artistic development. I aspire to continue performing at a high professional level, collaborating with diverse ensembles and composers. I want to expand my compositional output, creating engaging and innovative works for various percussion ensembles. My commitment to education includes mentoring the next generation of percussionists, nurturing their talents and fostering a love for the art form. Ultimately, I envision myself as a respected figure in the percussion world, known for both my artistic contributions and my dedication to education. The combination of performance and education allows me to contribute to the growth and evolution of percussion music in a meaningful way.