Dr. Garwood Whaley’s affinity for percussion began in the eighth grade when he wanted to be the drummer of a newly formed band. But to do this, he had to overcome one obstacle: he needed to own a set of drums. Determined to join, he worked on a small farm over Easter break, and with a minor contribution from his father, he purchased a set of drums from a pawn shop and met his goal. Seeking a new challenge, he became the drummer of a talented jazz group. But the demands of this band were a bit more than he could handle; causing his bandmates to give him an ultimatum to take lessons or get out. Hence, he sought the advice from another drummer at his high school who recommended Bruce Tucker.
Unbeknownst to him, this recommendation would lead to his life’s work in percussion and percussion pedagogy. For it was due to Tucker’s encouragement that Dr. Whaley decided to pursue a career in music. Thus, after graduating from high school, he was awarded a scholarship to Tucker’s alma mater: the Juilliard School. There he studied with Morris Goldenberg and Saul Goodman; earning a Diploma in Percussion Performance. Following Juilliard, he performed with the United States Army Band: “Pershing’s Own” while attending The Catholic University of America, where he obtained two degrees: a Master of Music in Percussion and a Doctor of Musical Arts in Music Education.
It was in 1965 that he wrote his first book, thereby launching his incredible career in the world of music publishing. Inspired to control his own work, as well as publish quality music and books by others, he founded Meredith Music Publications. Hence, Dr. Whaley has become one of the best-selling writers of percussion method books: with sales exceeding more than 400,000 copies worldwide. And due to the success of Meredith, his charitable work has provided thousands of dollars to individuals and organizations that promote and/or provide music and music education opportunities.
As an educator, Dr. Whaley was an Adjunct Professor of Music at The Catholic University of America and served as Curriculum Coordinator of Instrumental Music for the Diocese of Arlington Schools in Virginia. Along with being a Past President of the Percussive Arts Society, he continues to present clinics and workshops throughout the United States and Canada for such prestigious events and programs as the Midwest Clinic, The Juilliard School Conducting Workshop for Music Educators, and the Kennedy Center Professional Teacher Outreach Program.
His accolades in the field of music and music education are many: from being included in Who’s Who in American Music, Who’s Who in America, and the International Who’s Who in Music; for five years he received a Grant in the Arts from the Washington Post Newspaper’s Educational Foundation for his “Commissioned Work and Composer-In-The School Project”; to being immortalized in 1998, by Bishop Ireton High School, where he is Conductor Emeritus of its Symphonic Wind Ensemble, and who named its new performance hall the “Garwood Whaley Auditorium” in recognition of his long-term contributions to the school’s fine arts program; to being the recipient of the 2004 Alumni Achievement Award in the field of Education from Catholic University; to receiving the 2011 Midwest Clinic’s prestigious Music Industry Award; and to being honored in 2015 with the Lifetime Achievement in Education Award from the Percussive Arts Society.
When did you begin studying music?
I started studying music in the 8th grade.
Did you always study percussion?
No, I took clarinet in the fourth grade but the teacher of the class was so scary that I quit.
Why did you wait four years between studying clarinet in 4th grade to percussion in 8th?
We moved and getting established in a new school took some time.
What made you choose percussion?
There was a band being organized and I wanted to be the drummer. I had worked on a small farm during Easter break making $1.00 an hour for a week and thus earned $48.00. I borrowed $2.00 from my Father and bought a drum set that was in the window of a pawn shop. It was a horrible sounding kit, but to me, it was the best thing in the world. So with a drum set, I became the drummer.
Who were your primary teachers?
My primary teacher prior to college was Bruce Tucker, a Juilliard graduate, followed by Saul Goodman and Morris “Moe” Goldenberg when I studied at Juilliard.
How did you come about studying with Bruce Tucker?
The first band I played in was not improving and I was lucky enough to get into a much better group that played jazz with a great piano player. During a break in one rehearsal, the other three members came to me and said that if I didn’t get lessons I was out of the band! I asked one of the drummers in the high school band, in which I was a member, who he was studying with and he recommended Bruce Tucker. Once I started with him, my playing improved immediately – he was a good motivational teacher.
What areas of percussion did you study with Bruce Tucker?
I studied snare drum and drum set with Bruce. Later I took some vibe lessons.
When did you decide to pursue a career in music?
It was during my junior year in high school at the suggestion of Bruce Tucker.
Did you have a specific goal: teach, compose, etc.?
My goal was to play in a symphony orchestra. The next job that came through my teacher, Saul Goodman, was supposed to be mine (Anthony Cirone was recommended by him for the San Francisco Symphony, and I was next on Saul’s recommendation list). However, I received a draft notice after graduating from Juilliard, along with spending the summer playing with the World’s Fair Band of America, changed my career direction. I ended up playing with the United States Army Band “Pershing’s Own” in Washington, DC for six years.
Do you focus on a specific area of percussion?
My first two years at Juilliard I studied with Morris Goldenberg and didn’t specialize. My last three years were with Saul Goodman, and although we were expected to play everything, we focused on timpani.
What teachers have impacted your musical growth the most?
Saul Goodman and Morris ‘Moe’ Goldenberg at Juilliard, and Joe Greco my high school band director.
What teaching positions have you held?
I taught for one semester at Virginia Commonwealth University while in the Army Band; I was the Director of Fine Arts and Wind Ensemble Conductor at Bishop Ireton High School in Alexandria, Virginia for 34 years; and an Adjunct Professor of Music at The Catholic University of America in Washington, DC
What percussionists have inspired you the most and why?
Saul Goodman, Arnie Lang, Moe Goldenberg, and Vic Firth, because they all played with command and excitement; bringing great energy to their performances.
What motivated you to begin composing?
While a member of the United States Army Band in Washington, DC, I had a private lesson studio of about 50 students ranging in ages from five to professional. I was not happy with the method books that were available at this time since they were either too difficult or lacked musicality. So, I began writing to fill this void.
Have you formally studied composition?
No, but I did have extensive studies in music theory during my Masters and Doctoral work. Also, as a conductor, you have to analyze the works you conduct which provides insight into various styles of composition. I identify with its musicality.
What composers of percussion do you identify with?
Tony Cirone, Michael Colgrass, Saul Goodman, and Morris Goldenberg.
What usually motivates you to compose?
The last books that I wrote were Rhythm Reading for Drums, books 1 and 2 in 2010. I wrote them because I was made aware of the need for a snare drum book(s) that would parallel band methods, but would provide more comprehensive and idiomatic material for young drummers. So, I suppose I am motivated to write when I feel a need to provide something that is needed. To be honest, I am so busy publishing that I don’t seem to have the time to write.
What motivated you to start Meredith Music?
I wanted to control my music and to be able to publish what I wanted when I wanted. I also wanted to be able to publish quality music and books written by others. I never imagined that my company would grow to be what it is today.
How would you describe your compositional approach?
I try to lay the work out in my mind and often outline what I intend to do as far as formal structure, motifs and so forth.
Do you commonly compose with a specific grade level in mind?
Always.
Does being a percussionist make it easier to compose for this instrument?
Absolutely.
Has composing made you a better teacher and/or performer?
Most definitely.
How do you feel when performers interpret your work differently than you intended?
As long as the performance is a musical one, I don’t mind. Musicality, and an intelligent, expressive performance are what I am after.
Is there anything, in particular, you would like others to know about your compositions?
Yes, I am most concerned with the expressive quality of my music. When I started writing music for percussion, especially in my method books, I wanted percussion playing to take on the same expressive quality found in wind, string and piano music. So it is my hope that musical expression will be stressed in the performance of my music.
To Learn More About Dr. Whaley’s Work Please Visit: www.meredithmusic.com
