On April 6, 2020 the percussion world lost John Pratt. In honor of his memory, below is an interview I conducted with him on July 13, 2009 at his Hawthorne, New Jersey home. This was the first, and only time, I met with Mr. Pratt in person, and I found him to be a very welcoming host. During our discussion, he shared with me his early years studying with Norm Peth; his time with the Hellcats; and his inspiration for composing the numerous rudimental solos our profession has come to admire and love. The highlight of the day was when he requested that 
we play some rudimental works together. This was something that I was not expecting. Yet, on his kitchen table he had set-up a couple of practice pads, sticks, and a stack of music. I have to admit, I was a little nervous at first. But once we started playing, I began to feel that I was no longer with a legend, but with another colleague who just loved talking about drumming. I shall always remember that day with great fondness, and I hope this interview conveys to you his incredible contributions to the percussive arts.
John Sterling Pratt’s achievements in rudimental drumming are numerous. So much so that his peers inducted him into the Halls of Fame of the World Drum Corps, the Percussive Arts Society, the New Jersey Drum Corps, and the American Patriots Rudimental Drummers Club. Born on January 13, 1931 in Seneca Falls, New York, his love for rudimental drumming emerged During World War II when he attended community parades that promoted civic and national pride.
“My interest in Rudimental Drumming began about the time of the attack upon Pearl Harbor that dragged the United States into World War II…It was the parades of that time that made my spine tingle, especially the drums in our American Legion Drum & Bugle Corps. I walked the street whistling their bugle melodies and tried to imitate the thundering of their drums on a metal wastebasket in my bedroom, which I turned upside down for the purpose of playing on it. At that time, I remember telling my mother that I no longer wanted to continue taking piano lessons, and when she sadly asked why, I told her I couldn’t carry a piano in a parade. Shortly afterward, I began taking music lessons on the drum at school, and loved it. I soon became addicted to listening to Sousa marches and whistling them as I walked down the street. By the time the War was over, I was hopelessly addicted to drumming, and have been consumed by it ever since.” (PAS Hall of Fame Induction Speech, November 15, 2002)
In 1947 he began studying with Norman Peth. Mr. Peth was greatly responsible for improving Mr. Pratt’s technical skill and reading ability. Though he only studied with him for two years, his influence was immense. This became evident when he was assigned to study at the Fort Knox Band School after enlisting in the Army in 1949. While at Fort Knox, the barracks master was so impressed with his abilities that he encouraged him to audition for the Field Music Unit, known as the Hellcats Drum and Bugle Corps at West Point. Mr. Pratt was accepted in 1950, and in 1959 he was appointed to the position of Rudimental Drum Instructor/Arranger for this group; the same year that his first, and most well known book, “14 Modern Contest Solos for Snare Drum” was published.
While at West Point, Mr. Pratt started to prepare for life after the Army by pursuing his other love: poetry. He did so by attending night classes at Orange County Community College, and eventually graduating Summa Cum Laude from Fairleigh Dickinson University in 1969, with a degree in English Literature. His next career began in 1970 as a teacher of English at Hackensack High School, where he remained until his retirement in 1995. Specializing in American and British Poetry, Mr. Pratt also taught at Bergen Community College, and had numerous poems published.
Mr. Pratt’s love for rudimental drumming did not end once he began his career as a poet. He continued to teach, coach, and have numerous rudimental works published. He taught the Hawthorne Caballeros Drum Line from 1972 to 1981; winning four DCA World Championships, and three American Legion National Titles. And even at the age of 78, Mr. Pratt was still as devoted to drumming as ever: writing new books, and working with the Hal Leonard Corporation, who released his DVD entitled, “Ancient Rudimental Snare and Bass Drum Solos.”
Having dedicated his life to rudimental drumming, Mr. Pratt hoped that the next generation of drummers would develop an appreciation of how the art of American Rudimental Drumming began, and how important it is to continue.
“However, my main concern about rudimental drumming is that, as a traditional system, it seems to have been in decline in recent years, and I feel that drummers have not done all they could to keep this valuable heritage alive and well…I strongly recommend that Rudimental Drummers throughout the United States should make a sincere attempt to form a rudimental Drum Club in their area if there is none, or get together with other Rudimental Drummers on a regular basis if a club exists near them. Only by enthusiastic involvement in joining such clubs and teaching individual students the Traditional Rudimental Drumming Art can we help to preserve the historic legacy which was passed on to us and hopefully should be passed on to the current generation as well.” (PAS Induction Speech, November 15, 2002)
When did you begin studying music?
My mother started me on piano lessons with a friend of hers at about the age of 8 until I was 12 years old. Because of Pearl Harbor, the bands, the parades, the bond drives, I just felt I had to play the drums. One day I was practicing the “Blue Danube” on the piano, and I got so angry with myself for missing one note that I just slammed my hands down on the piano keys and I walked out of the house. My mother followed me with her car trying to find out why I was so upset. I told her what happened, and more so that I couldn’t play a piano in a parade. She never made me take a piano lesson after that.
Who were your primary teachers?
I only had one: Norman Peth. I studied with him until I qualified to obtain my certificate from N.A.R.D. in 1949. Norm was called to return home to Ohio by his father to work, so I was left without a teacher. But, I had gone so far with Norm that I had to use it. This all occurred around my senior year of high school.
Who impacted your musical growth the most?
Him, Norman. No question about it. He gave me lessons for $2.50 and I stayed and stayed, and sometimes I would have supper over at his house. Then we’d get off on a tangent and play duets together. He was so glad to help me. He enjoyed working with me and he enjoyed my interest. It was just wonderful having a guy like that as a teacher. He is now 84 and we still keep in touch.
Which drummers have inspired you the most?
Other than Norm, it would be the Swiss Drummers, Alfons Greider and Dr. Fritz R. Berger. Alfons was a student of Dr. Berger, and while Alfons was studying at Columbia Presbyterian Hospital, working on a cure for cancer, he and I would get together to perform. Dr. Berger, I believe, was the man who wrote out the notation for all of the Swiss Rudiments. There were of course others who have written books about this topic, but Dr. Berger was the top authority on this subject.
Did you ever expect to have a career as a drummer?
I had no designs to do that. I just liked to drum. I went into the Army in November of 1949, because of the draft. As I was taking my basic training, it was found out that I played a musical instrument. After information was collected on me, it was recommended that I go to band school following basic training.
How did your career at West Point come about?
The barracks master at the band school said I would be foolish not to try out for the military band. He thought I was the best he ever heard put on a military drum. He said I could fly up and take an audition and that they had a band like Sousa used to have. They have a rudimental drum section, trumpets and fifes. He said I’m sure you’d love it. So I went up and auditioned, and when I was through at Fort Knox, I was transferred to West Point. Suddenly I had a job, so I hung on to it and I started writing parts for the field music. It was really nice and I enjoyed it. Before long I started to amass a whole bunch of material in pencil written on paper bags; you name it.
What motivated you to begin composing?
Well I started writing stuff when I was in high school. I did a drum solo. I learned to read music from Norm. So I started making little pieces of music; a lot of them, I couldn’t even tell you where they are now. As time passed, the works became larger and fancier. I just threw the old stuff away one time. That happened when I got out of
basic training and went to the band school, I decided that I had to do something better than this. When I was at West Point, I would go into the rehearsal rooms as the first one there and the last one out. I would just practice and experiment and then I started writing all this stuff; I guess to show my skill with a pen. A lot of people who saw my early solos like the way I notated and how neat it was.
How would you describe your compositional approach?
I sit down to write and it just comes out. Sometimes I have a song in mind; maybe a church hymn, a band march, or a song that can be made into a march. While I sing, or whistle the melody, I develop a rudimental composition that can coincide with that melody.
Do you compose with a specific grade level in mind?
No, I just write as nastily as I can write. That’s with everything I ever wrote.
What composers do you identify with?
There were a number of people that wrote: Les Parks, Earl Sturtz, J. Burns Moore and Sanford Moeller who was Gene Krupa’s teacher. Norm and I loved Gene Krupa. When I would take my lessons with him, we would take out his records and play to them. Sometimes Norm and I would swap solos like Krupa and Buddy Rich did.
Has composing made you a better drummer?
I never thought about it. I think it does. Because when you are constructing something, or building something, you’re paying attention to all of the details that come up with your building. You can teach yourself a lot. I never had any training beyond Norm’s teaching when I was a junior and into my senior year of high school. After that, it was just myself. Every time I’d go over, I’d show him what I had been writing, and he’d say “God, that’s good. Maybe you can get that published.” I had sent my compositions to at least 25 publishers, but I was turned down. They all said they had plenty of books like it. But I think they couldn’t understand mine, until Belwin said they liked the titles. They thought they were catchy.
How do you feel when performers interpret your work differently than you intended?
The only thing that I say is to observe the sticking and try to use it. Since it will help your progress as a drummer, because the sticking will task you to do things that you are not familiar with. They’ll make you work and grow to become a better drummer.
What would you like others to know about your compositions?
Well, rudimental sticking is much more definitive, difficult, and worthwhile for the drummer, because it forces one to drive narrow lanes at 90 mph, so to speak. You can’t make any excuses when performing a rudimental solo. You just have to work your butt off until you can play it. I guess I have to say that I realized the value of sticking more than any drummer I had ever met, and that’s a fact. I felt the need to identify everything in my solos.
Why is Ancient Martial Music so important to preserve in America?
We did not have orchestras wheeling out timpani. We had rope tension snare drums, and men playing fifes. The bugler was only used to call everyone together to get the parade going. We have, shall I say, a legacy which is firm and strong and it’s worthy of recognition. Unfortunately, not too many people seem to care about tradition. But this is the music that unites us in the formation of this country.
To learn more about Mr. Pratt, please visit The International Association of Traditional Drummers, which he founded in 2004 at: http://iatdrummers.com/
Bibliography
Vogel Weiss, L. (2002, August). John S. Pratt. Percussive Notes, 40, 8 – 10.
