Considered one of the world’s most recognized historians on the history and development of the drum set, Robert Breithaupt retired as a Professor of Music, Coordinator of the Percussion Program, and Chair of the Performance Division at Capital University. Mr. Breithaupt has performed with scores of notable jazz artists either as the drummer for the Columbus Jazz Orchestra or in other settings. And over the last 25 years he has performed with over 100 symphony orchestras worldwide with various guest soloists.
Mr. Breithaupt has presented clinics, workshops, and seminars throughout the globe, and is an artist/consultant for Innovative Percussion, Remo, Sabian, and the Yamaha Corporation. Moreover, he authored the textbook, The Complete Percussionist for Barnhouse Publications, and the DVD, Snare Drum Basics for Hudson Music.
A board member of The Sessions, and Experience Columbus, Mr. Breithaupt also served as the Executive Director of the Jazz Arts Group of Columbus, as Vice-President of the Jazz Education Network, as the Founding Chair of the Columbus Cultural Leadership Consortium, and as President of the Percussive Arts Society. Moreover, he received the 2014 Yamaha Legacy Award for his service to percussion education; Bowling Green State University’s Outstanding Graduate Award (where he earned his Bachelor of Music and Master of Music degrees); was a fellow at the Jefferson Academy for Leadership and Governance; and participated in the prestigious Executive Program for Nonprofit Leaders in the Arts, which is a joint program of National Arts Strategies and the Stanford Graduate School of Business.
When did you begin studying music?
I started off briefly studying the violin, but moved to the drums when it was introduced in my school music program when I was about 10.
What made you choose percussion?
I was always attracted to the drums, but also the trombone. In the early 60’s, programs such as the Lawrence Welk Show were a part of the family culture, and one of the earliest recollections I have was watching Pete Fountain on that show with his band. I saw a replay of one that featured Al Hirt with Fountain from about 1960, which I believe I saw as a very small child. It is interesting how a moment such as that can impact someone, much like when the Beatles were first on Ed Sullivan.
Who were your primary teachers?
My first percussion teachers were a Columbus drummer named Charlie Brown (real name Klutterbuck) who had studied with Charley Wilcoxon; a percussionist/arranger named John Tatgenhorst; and a French horn professor named Darryl Wood, with whom I studied timpani and keyboard instruments. Even though he could not play snare drum as well as I did, my timpani lessons with him were extremely valuable because we focused upon touch, tone, and intonation. As a teenager, I attended the Ludwig Symposium where I first connected with Joe Morello; and I also took a couple of lessons with Charles Owen when he was teaching at the University of Michigan. In college, I studied with Wendell Jones, a great jazz vibist, marimbist, and commercial player; as well as occasional lessons with Bob McKee, a legendary Cleveland player and teacher. I also had a few lessons with Ed Soph when he was living on the top of a mountain in Garrison, New York, and I was playing a summer resort gig in northern New Jersey. This began a life-long connection with Ed as a friend and colleague, and provided the backdrop for beginning our Summer Drum Set Workshops which we presented from 1980-2006 at Capital University, North Texas University, and other locations. It is important to note that in those days, viable drum set instructors were very rare, and were typically only located in large cities, not at colleges.
When did you decide to pursue a career in music?
I grew up in the small town of Marion, Ohio – north of Columbus. This was a unique place, as it was a vibrant manufacturing town that was so active that advertising agencies had satellite offices there. Included among the executives in these places were a very hip group of older men who were big jazz fans – a real “Mad Men” environment. I was fortunate in that one of my classmates was the great pianist, and B-3 organist, Bobby Floyd. We formed a jazz trio when I was 15, and were playing at real jazz clubs and parties actively before we could drive. There was a great deal of musical activity in my hometown, and in the region; and I began to play professionally with good adult musicians as soon as I could drive. Along with other activities, such as regional and state orchestra, etc., I was led to determine that music was my calling.
Did you have a specific goal: teach, compose, etc.?
I began to teach private lessons in a local music store when I was 16. So the combination of teaching and performing was always a part of my goal, as it simply evolved that way. My parents were very supportive. Of course, they were concerned about my future, but never engaged in pressuring me about going in a direction for money or status. I also believe that for those of us who began in college directly after the Vietnam War, there was a relief (on the part of both parents and students) that we did not have to serve, and subsequently there was real latitude in choosing our own path.
Do you focus on a specific area of percussion, if so, did you always?
At this point the bulk of my professional playing is on drum set. However, earlier in my career I was very active as a show percussionist, and as an extra percussionist with the Columbus Symphony, and Pro Musica Chamber Orchestra here in Columbus. The orchestral side of my drum set playing has been a large part of my career since the late 90’s, as I have performed with over 100 orchestras in the US and abroad. This is in addition to the small group and big band playing that has-been a cornerstone of my performing.
Who impacted your musical growth the most?
This is difficult to pinpoint, but I believe that it has been the vast cross-section of artists that I have performed with in so many different settings. Many of these have been individuals where I’ve had to assume a new role each time, either in terms of a style or approach. Often you are called upon to be a “craftsman” and that forces you to be on your toes at all times.
What teaching positions have you held?
I have been at Capital University since 1978, and a full-time faculty member since 1981. Prior to 1981, I was also the percussion instructor at Central State University for two years. Some of my most rewarding teaching experiences have been in the scores of workshops and clinics I have participated in around the world, and especially rewarding was the 25-year run as Co-Director of the Summer Drum Set Workshops, along with Ed Soph, Steve Houghton, and the late Guy Remonko, a wonderful musician and teacher who taught at Ohio University.
What percussionists have inspired you the most and why?
I am particularly inspired by great musicians who are multifaceted players, that “happen to be” drummers and percussionists. For example, folks like Gordon Stout, Bob Becker, Peter Erskine, Jeff Hamilton, and Ed Soph; all of whom happen to be good friends, so that is also a factor.
Is there a specific genre you enjoy performing the most?
The genre that I enjoy performing the most is one that I seem to find myself in the least: the trio. There are musical outcomes that occur when I find myself in this setting that are very rewarding.
What composers do you identify with?
Some of my favorite composers are: Ravel, Bartok, and from the jazz genre, Chick Corea.
Do you get nervous before you play – if so, how do you deal with it?
I believe that everyone has a level of anxiety before they perform – some events are greater than others. The key is to be able to manage it, focus, and to use this anxiety as energy. This can be difficult, even for the most experienced performers.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Everyone makes mistakes – it’s really a matter of how glaring the mistake is, and how you cover it up. I consider striking a cymbal a bit too hard, or not supporting an articulation in an ensemble setting to be a mistake, even though no one may really hear it. Certainly, missing a note or passage on a keyboard instrument is more noticeable, and I’ve had my share of those mistakes. Finally, the goal is to make sure that you do not make the same mistake twice.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
I do not know a professional that is practicing as much as when they were a student, or in the immediate years after they were in school, due to the obvious challenges of making a living and developing a career. This is one of the primary messages students should heed: that they currently have more time to develop their craft than they will have the rest of their lives. As far as current practice, I would say that making one’s performance part of his/her “practice” is important: by being very focused at all times and evaluating one’s playing in real time. As to maintaining a level, I think that most players will evolve to focus more toward a specific instrument or instruments.
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?
This has not changed for me in a broad sense: a great teacher is one who generates new thoughts and provides or supports new information in an engaging manner. The style can vary from teacher to teacher. My philosophy is that I really do not “teach” but provide an environment where learning can take place. I serve the student by fast-forwarding the learning process for him/her, but the student must be the one that does the real work by thinking, questioning, and applying the knowledge provided by the instructor.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
I believe that one becomes a better teacher as one performs more, and vice versa. As noted before, I also believe that one’s teaching skills and evaluations can help one judge his/her playing on the fly.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
I was blessed with some great mentors. However, If I were starting today, I would try to travel more, and reach out to as many folks as possible. At the time, I did about as much as any kid from the middle of nowhere would be able to do, with the exception of attending a place like Interlochen, but this was not financially possible for me. I was sort of fearless in contacting folks as a young player, but those opportunities are greater now. I find that I have to encourage many students to do this more than I would like. The nature of being a musician is to help young people, so there should not be any hesitance to reach out; for a true artist will rarely blow you off. And, like most, I wish my piano skills were better – that is universal.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Try to understand that time is short, and use it as effectively as possible. Develop personal skills of speaking, writing, as well as developing musically. Be open to any style, and do not be influenced by those who dismiss any type of music as less important than another. You will draw from all resources at some point.
