Dr. Paul Buyer

Professor of Music, Director of Percussion and Director of Music at Clemson University, Dr. Paul Buyer is a sought-after keynote speaker and clinician who was featured in “Success Magazine’s Achiever Series.”  He is a clinician/endorser for Yamaha Percussion, Vic-Firth Drumsticks, Remo Drumheads, Sabian Cymbals, Grover Pro Percussion, an Educational Artist for Balter Mallets, and is Co-Editorial Director for “Percussive Notes,” the official journal of the Percussive Arts Society.

Dr. Buyer earned a Bachelor of Science from Ball State University; and from the University of Arizona, he was awarded the degrees of Master of Music and Doctor of Musical Arts.  He served as a percussion staff member with the Dutch Boy Drum and Bugle Corps; was a member of the Star of Indiana Drum and Bugle Corps; and in 1990 placed 2nd at the Drum Corps International Keyboard Individuals. 

 A contributing author to the second edition of “Teaching Percussion” by Gary Cook, Dr. Buyer’s articles have appeared in “American Music Teacher,” “Teaching Music,” “Jazz Education Network,” “Percussive Notes,” “Rhythm! Scene” and “The PAS Educators’ Companion.”  He is also the author of “Working Toward Excellence: 8 Values for Achieving Uncommon Success in Work and Life,” “Marching Bands and Drumlines: Secrets of Success from the Best of the Best,” and co-authored, with Josh Gottry, “The Art of Vibraphone Playing: An Essential Method for Study and Performance.”

When did you begin studying music?

In 5th Grade I started playing snare drum in “Summer Band” and I played in band throughout middle school and high school.  I started taking lessons with Mike Balter when I was 17.  He was my first teacher. 

Did you always study percussion?

I took a few guitar lessons before I studied percussion, but quit when I realized I had to learn fingerings on more than one string.  I definitely did not have the self-discipline needed to learn an instrument at first!  

What made you choose percussion?

Honestly, the reason was because I had braces at the time and was told I would not be successful playing a wind instrument. 

Who were your primary teachers?

My primary teachers were Mike Balter, Erwin Mueller at Ball State University, and Gary Cook at the University of Arizona.

When did you decide to pursue a career in music?

When I started studying with Dr. Mueller at Ball State as an undergraduate.  He told me I had the talent and work ethic to earn a doctorate someday.  I thought he was crazy, but he saw something in me that I didn’t see in myself.  That always stuck with me.  I realized through spending time with Dr. Mueller that I wanted to do what he did – teach percussion at the college level and work on a college campus.  Around the same time, I started working the Mike Balter Mallets booth at PASIC and got involved in PAS.  PAS and PASIC solidified my desire to pursue a career in music.  

Did you have a specific goal: teach, compose, etc.?

Due to Dr. Mueller’s influence, I wanted to teach and have a job like his.  I loved to practice, perform, and get better, but teaching became my passion.  When I started studying with Gary Cook at Arizona, he taught me how to teach.  As a Graduate Teaching Assistant, I taught the drumline, applied lessons, percussion methods, and took his percussion pedagogy course, which, among other things, focused on Teaching Percussion.  

Do you focus on a specific area of percussion, if so, did you always?

All my teachers were very well-rounded so that is the approach I take and believe in.  Johnny Lee Lane, Director of Education for Remo, once told me: “Percussion is Plural.” So I always embraced becoming a versatile and well-rounded percussionist and even wrote an article for “Percussive Notes” by that same title.  

I have been heavily involved in marching percussion for many years: marching DCI, serving on the PAS Marching Committee, adjudicating high school band competitions, and teaching and arranging for numerous high school and college drumlines.  If I did have a specific focus, it would be percussion education. 

Who impacted your musical growth the most?

I would have to say all three of my primary teachers impacted my growth at different stages of my life.  Mike Balter exposed me to the percussion industry, PAS and PASIC.  He introduced me to everyone he knew, including many PAS Hall of Famers and legendary players and teachers and gave me the opportunity to work his booth at PASIC for over 25 years.  Dr. Erwin Mueller at Ball State took me under his wing when I really needed a mentor, as I was well behind my percussion peers when I started college.  He taught me the value of practice and believed in my ability, capacity, and potential when there was no evidence I had what it took to be successful.  Professor Gary Cook taught me how to teach percussion; took my playing to another level, raised my standards and prepared me better than I could have ever imagined for a college job.  He also instilled and developed my mental game and shaped my thinking on how to teach and communicate.  As a young writer, he gave me the opportunity to contribute to the Marching Percussion chapter of the second edition of his seminal book, “Teaching Percussion.”   

What teaching positions have you held?

I served as Assistant Director of Bands and Coordinator of Percussion at Garland High School in Garland, Texas and currently serve as Professor of Music, Director of Percussion, and Director of Music at Clemson University.  I am also an Adjunct Percussion Professor at Southern Wesleyan University. 

What percussionists have inspired you the most and why?

Dennis DeLucia and Thom Hannum, Percussion Caption Heads for Star of Indiana in 1989 and 1990, respectively.  As section leader of the front ensemble during those years, I spent a lot of time learning from them.  They taught me many life lessons about leadership, excellence, hard work, commitment and consistency.  Their teaching philosophy went beyond drum corps and helped me grow and become a better musician and person.  I always came back to school transformed and was a different, more confident, and more skilled player thanks to their influence.

Mike Sammons, Professor of Percussion at the University of Utah.  In 2007, Mike was my sabbatical replacement at Clemson.  I had set out on a journey which resulted in my book, “Marching Bands and Drumlines,” which profiles seven of the top college marching bands and drumlines in the country and how they achieve excellence.  The experience turned into a “sabbatical dream team” and Mike and I have been great friends ever since.  He is an incredible player and one of the finest educators and people I know. 

Mike Balter.  When I was young and would watch him play, I was mesmerized.  I always wanted to please him and make him proud.  He treats everyone with respect and is the ultimate professional.  He built one of the most successful percussion companies in the industry, hired quality people, and is a master relationship builder.  His character and integrity are unmatched and I will be forever grateful for his help, wisdom, support, and advice throughout my career.

Bob Becker.  From a sheer playing perspective, I am always blown away when I watch him play.  His speed, touch, fluidity, style, and musicality are the gold standard.  He makes everything – from xylophone, to tabla, to rudimental snare drum – look so easy. 

Is there a specific genre you enjoy performing the most?

There is not.  I enjoy playing many different genres – rock, funk, jazz, orchestral, marching, concert and World Music.  I have played in, or taught, Steel Band since graduate school and have really enjoyed the passion, style, and musical energy of that art form.  I also love playing brushes on drum set as well as concert vibraphone, which led to my book, “The Art of Vibraphone Playing,” co-authored with Josh Gottry and published by Meredith Music. 

What composers do you identify with and why?

The first composer that comes to mind is David Maslanka.  When I was at Arizona, we performed almost all of his wind ensemble works, as he was very good friends with our Director of Bands, Gregg Hanson.  David would work with us, provide feedback, and attend our concerts when he was able.  His music is inspiring and challenging and having him there was a thrill.  I played timpani on the world premiere of his “Mass,” which called for seven drums.  A few years later while teaching in Texas, I had a private lesson with David in a practice room at the University of North Texas on “My Lady White.”  I always felt a strong connection to him and his music.

I am a big fan of several percussion composers today that I know personally.  They write quality music for percussion ensemble and I am always excited when they come out with a new piece.  These composers include Chad Floyd, Nathan Daughtrey, Brian Nozny, Brian Blume, Ivan Trevino and Cliff Walker among others.  They all write with a high level of understanding for instrumentation, number of players, length and difficulty level that fits the Clemson Percussion Ensemble very well.    

Do you get nervous before you play – if so, how do you deal with it?

Yes I do get nervous, but I learned that nerves are simply a sign that you care about what you are doing.  I have also learned that preparation is the key to confidence.  Four strategies I use to manage nerves are: visualization, simulation, triple channel learning and mindset. 

In my mind I visualize my performance: imagining the ideal result.  Sometimes I visualize myself sitting in the audience watching myself play, and sometimes I visualize myself on stage performing.  I start doing this several days before a performance and also use it as a tool to prepare for speaking gigs. 

Simulation is about doing mock performances: pretending it is the real thing.  I might ask someone in the hallway to come in and sit down for five minutes while I run through my piece.  They don’t have to say anything – they just sit there.  They don’t even have to be a percussionist or musician.  Having anyone sitting in a chair will simulate the feeling of performing for an audience. 

Triple Channel Learning ensures I learn a piece of music three ways – how it looks on the page (Visual), how it sounds (Auditory), and how it feels (Kinesthetic).  During a performance, if one channel fails, two are still working.  If I only learn a piece visually for example, and that fails, game over. 

As odd as this may sound, my performance mindset is to make the audience uncomfortable.  Not literally of course, but I want to make the audience uncomfortable rather than allowing them to make me uncomfortable.  I do this by owning the stage, setting the tone, and making them wait.  I will not let them determine my pace; I will not let them rush me; and I will not let them take me out of my zone or routine. 

Do you ever make a mistake while performing?  If so, how do you go about resolving it?

Of course, but my goal is always excellence, not perfection.  To use a basketball analogy, if you miss a shot, keep shooting.  Persevere.  Live performance always has some risk involved, but that is the exciting part and it gives you an authentic voice and an edge when you perform.  Above all, I trust my preparation.  I try to stay in performance mode and if I make a mistake, I don’t show it with a facial expression or side comment.  I act.  I keep going.  It’s a blip: a small moment in time that the audience probably won’t remember anyway. 

I tell the Clemson Drumline there are two kinds of mistakes: 1) Mistakes that happen when you are prepared and give excellent effort.  This is human nature and you should learn from them.  These mistakes are acceptable and part of the process of getting better.  2) Mistakes that happen when you are not prepared/focused and give a mediocre effort.  These are often mental errors.  These mistakes are unacceptable and part of the process of becoming average. 

Has your practice regimen changed from when you were a student?  And how do you keep your technique fresh on all primary percussion instruments?

It has changed a great deal.  As a student, I had a lot more time to practice.  As a freshman at Ball State, I was practicing six hours a day which led to my recital.  I was obsessed with getting better and motivated because I was so far behind my peers.  At Arizona, I had never played better, soaking up as much wisdom as I could from Gary Cook and preparing for multiple recitals by applying what he taught me.  I still try to practice every day, but it is usually to prepare for my students’ lessons or refine a technique.  It doesn’t take that long to get back into it, but with a family, full time teaching load, and administrative responsibilities, it is more difficult to carve out time.     

How do you define a good musician and a good teacher?  And has your definition of both changed from when you were a student to the present?  

I would define a good musician as someone who listens, respects, and plays well with others.  Someone who is a good ensemble player puts the music and group first.  Someone who is always prepared and brings energy to a rehearsal and performance.  Someone with high standards.  A good teacher is a good leader.  Someone who can inspire, connect with, and lead others to reach their potential.  Teaching is leadership.  A good teacher has the seven Cs – character, competence, commitment, caring, confidence, communicator and consistent.  My definition has not changed. 

Do you think that performing and teaching are intrinsically intertwined?  If so, how and why?  

I think to be a good teacher, you have to be able to play at a high level, but more specifically you have to be able to demonstrate and connect.  You can’t teach someone to play a good snare drum roll by talking about it.  But I also have seen a lot of great players – on video and at PASIC, Days of Percussion, etc. struggle with teaching and communicating.  Teaching is a skill and you have to have several different ways to say something, different strategies, tips and approaches, depending on how a student learns.  You have to be able to explain what you are doing when you play and break it down to a level where people can understand it. 

Has teaching made you a better musician, if so how and why?

Without question!  Teaching is a great way to see if you really understand something.  For example, try teaching a beginning drum set student bass pedal technique.  What does that lesson look like?  What do you say?  Do you teach heel up or heel down?  Where on the pedal should your foot be positioned?  How relaxed should your leg be?  What exercises do you use to develop technique?  What is the process for developing speed and control?  Teaching has increased my self-awareness and I have a much greater appreciation for what goes into to my craft.   

What is Dystonia and how has it affected you?

Dystonia is a movement disorder that causes abnormal and involuntary muscle contractions.  In 2008, I was diagnosed with Task Specific Focal Dystonia (TSFD), which caused my left index finger to come off the stick when playing matched grip snare drum, timpani rolls and two-mallets.  “Task specific” means it only appears when performing specific tasks.   I quickly lost control, confidence, and faith in myself to ever play the same way again.  I sought advice from medical professionals, took time off from playing and did a lot of research.  I learned about “Musician’s Dystonia,” a real condition with two major types: embouchure dystonia in wind players and hand dystonia in pianists, string players and percussionists. 

What has your recovery been like?

For many years I accepted that I had TSFD and compensated by figuring out a different way to play.  The biggest adjustment I made was holding the stick with my fulcrum only and keeping the middle finger off the stick.  For the most part, I kept the condition to myself because I was embarrassed: experiencing imposter syndrome and questioning my ability to teach percussion effectively.  Then a couple years ago, my former professor, Gary Cook, connected me with a drummer in New York City named Shaun Lowecki.  Shaun had suffered a more severe case of TSFD than I had and successfully overcame the condition.  I took several Skype lessons with Shaun resulting in significant improvement.  For the first time in years I was encouraged and decided to write an article for my blog as well as PAS titled “Drumming with Dystonia.”  After studying with Shaun, I came across an article and accompanying video in “Percussive Notes” by legendary drummer, Steve Smith called “Matched Grip Variations” which discussed four different matched grips he uses when playing drum set.  The various hand positions intrigued me, and I immediately wondered if practicing with these grips could help my “retraining” process.  Soon after, I bought Smith’s book, “Pathways of Motion,” and his exercises, concepts and multiple grips have helped a great deal in my recovery. 

Has Dystonia changed your perspective as a performer and teacher?

Dystonia has certainly made me aware of what can happen as a musician and has taught me not to take anything for granted.  My goal through this process has always been to play better than I did before.  It has been liberating to be transparent with friends, colleagues and other percussionists who are experiencing the same condition.  Although I am not 100%, I am grateful for the ability to play at a high level again and have rekindled my passion for percussion.  Having dystonia has also sparked my interest in the health and wellness aspects of our field.

What would you recommend to those who think they may have it?

I would start by doing some research at: https://dystonia-foundation.org/what-is-dystonia/types-dystonia/musicians/, https://www.fariastechnique.com/musician-focal-dystonia, and http://musicians-focal-dystonia.com/author/jon/.  Reach out to a coach for advice; or the PAS Health and Wellness Committee; or follow the path I took in my article.   

The most frustrating and disheartening part of dystonia is not knowing what it is and why it is happening.  However, the good news is there are more success stories happening every day.  Why not you?  Patience, faith, discipline, and the right combination of exercises, strategies and resources can, over time, rekindle your passion for percussion and allow you to play better than you ever have before. 

Knowing what you know today, would you change anything about how you prepared for your career?  If so, what and why?

The one thing I would go back and change is I would take piano lessons to better develop my reading skills.  In high school I was a “drummer” and was never given the opportunity to play mallets.  I would have also liked to attend some of the great summer music and percussion camps that were offered, but did not know about them as a young student.  Although I initially never wanted to be a high school band director, one of the best decisions I ever made was when I accepted the job at Garland High School.  In addition to the experience of teaching public school, I learned so much about classroom discipline, rehearsal technique, competition and intrinsic and extrinsic motivation.  I taught classes outside my comfort zone, including brass ensemble and jazz ensemble.  Looking back, the jazz ensemble experience played a huge part in being hired at Clemson University, as they were looking for someone who could direct the CU Jazz Ensemble in addition to building a percussion program.  

What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?

Performer: Great players are a dime a dozen.  Everyone can play these days, so to be successful, you have to figure out how to stand out.  How will you stand out in a culture of fitting in?  If 75 people apply for the job, why would they pick you?  What do you bring to the table that is different?   How will you separate yourself?  What is your differentiator?  Your tiebreaker?

Educator: Being a teacher is one of the most rewarding professions in the world because you have the opportunity to touch people’s lives, make a difference, and have an impact.  Become a student of leadership.  Read books, go to conferences, listen to podcasts and grow.  Great teachers are great leaders.  Work toward excellence every day.  “The performance of an organization is the ultimate measure of its leader.” – Colin Powell       

 

If you would like to learn more about Dr. Buyer and/or contact him, please visit his website at: www.paulbuyer.com