John H. Beck is Professor Emeritus of Percussion at the Eastman School of Music, and retired Principal Timpanist of the Rochester Philharmonic Orchestra. He has performed as a concert soloist with the Rochester Philharmonic, Eastman Wind Ensemble, U.S. Marine Band, and the Syracuse Wind Ensemble. In addition to his performing career, he is an accomplished composer, and writer of numerous scholarly works about percussion
As a young child, he was inspired to play the drums from two neighbors who performed with his father in the local fire company fife and drum corp. At the age of 10 he began studying with various teachers, and in junior high school, he was invited to perform with the Lewisburg High School Band. As a sophomore in high school, he would be permitted to take leave from his studies for an entire week, and travel to Pittsburgh on his own to study with Art Harbert. This led to Mr. Beck performing at local social clubs in the Lewisburg area at the age of 13, becoming known as either Johnny Beck, the Drumming Child, or Johnny Beck, the Drumming Sensation.
In 1955 he graduated from the Eastman School of Music with a Bachelor of Music degree, and in 1962 he earned his Master of Music Degree from the same institution. Mr. Beck’s most prominent performing, and academic credentials, began in 1955 when he became the marimba soloist, and timpanist, of the President’s Own United States Marine Band. It was in 1959 that he became the Principal Percussionist of the Rochester Philharmonic Orchestra and started teaching at the Eastman School of Music. And in 1962, he was appointed Professor of Percussion at the Eastman School of Music, and became the Principal Timpanist of the Rochester Philharmonic Orchestra, retiring from the orchestra in 2002, and from Eastman in 2008.
Since retiring from both positions, Mr. Beck performs with the John Beck Trio/Quintet, and The Rochester Jazz All-Stars. As Professor Emeritus at Eastman, he continues his scholarly pursuits teaching a course on the history of percussion. In addition, he is a member of the Past President’s Advisory Board of the Percussive Arts Society (PAS) where he served as the New York PAS Chapter President from 1976 – 1982; Second Vice President of The International PAS from 1982 – 1984; Vice President from 1984 – 1986; and President from 1987 – 1990. In addition, Mr. Beck served as Percussion Chairman of the New York State School Music Association from 1970 – 1972.
His years of service as an educator, performer, and scholar have been rewarded by receiving the Eisenhart Award from the Eastman School of Music for excellence in teaching; the Performing Artist Award from the Arts and Cultural Council of Greater Rochester; and in 1999 he was inducted into the Percussive Arts Society’s Hall of Fame.
When did you begin studying music?
I started taking drum lessons at age 10. I always studied drums except for a brief period when I studied piano. As a requirement, I continued my piano studies as a freshman at Eastman.
Who were your primary teachers?
My first teacher was a house painter in my home town of Lewisburg, PA. After my 13th lesson, he said that he didn’t know any more, and that I should look for a real teacher. I looked around and found several but didn’t stay long with them. I ended up with Art Harbert in Pittsburgh, PA at Art’s Drum Shop during my high school days. When I went to Eastman I studied with William G. Street for four years.
What teachers impacted your musical growth the most?
My band director in high school, Robert Beckman, probably had the most influence on my early career. When I got to Eastman it was William G. Street.
When did you decide to make music your career?
I was always interested in playing music from the beginning of my drum lessons at age 10. During my high school years I became serious about it, and decided to attend a music school. Since I grew up in the Big Band Era, I wanted to play in one. However, after attending Eastman my career took a turn toward classical music. In 1955 after college, I joined the United States Marine Band and stayed there for four years. After that I joined the Rochester Philharmonic Orchestra in 1959, and retired in 2002.
Did you have a specific goal?
In the beginning I wanted to perform. I always taught even while in high school. The combination of playing and teaching is natural for musicians. As I teach, I learn more about my own playing, therefore it has been a great experience for me. I started to compose because I didn’t like what I was finding in the solo market, especially for timpani.
Do you focus on a specific instrument as a percussionist?
When I was in high school it was all snare drum and drum set. In college, I realized the importance of total percussion and this became my interest. My goal was to learn all I could about percussion instruments so I would be marketable in the music business. I started out as Principal Percussionist of the Rochester Philharmonic Orchestra, and became Principal Timpanist two years later. I held that position from 1962 until 2002
What genre do you enjoy performing most?
As a timpanist I enjoyed the Romantic period of music. The timpani parts are great: Beethoven, Brahms etc. I also enjoy playing jazz as I grew up during the Swing Era. Now that I retired from playing in an orchestra, I am playing lots of jazz in trios, quartets, and big bands.
What percussionists have inspired you the most?
This may sound strange, but all my students have been a big inspiration. They teach me as I teach them. I suggest, I listen, and then I make a decision as to how well it worked. Of course in the area of drum set it’s Gene Krupa, Buddy Rich, Louie Bellson, and my former student, Steve Gadd. My teacher William G. Street, as well as all the percussionists and timpanists of the major symphony orchestras.
Has Eastman been your only teaching position?
I have taught at the Eastman School of Music for over 50 years. It has been my life and it has been rewarding.
What motivated you to begin composing?
I was not pleased with what I was able to get for solo music. I also had ideas about percussion ensemble music, so I started to write solos for various percussion instruments as well as for percussion ensembles. In addition, I was writing for my students when they had recitals. I enjoy composing because I can put on paper what I am thinking in my head.
Have you formally studied composition?
No, I never studied composition. I did have a course at Eastman where we had to write for various instruments, but I never took a composition course. I write what I feel and I know it works because I try it out before I put it on paper.
How would you describe your compositional approach?
I try to write logically, or idiomatically so the music and technique flows smoothly. I always have a particular goal in mind when I compose. Sometimes it is a particular technical pattern that I want to develop because I know it will help other players. Sometimes it is a musical motive. If it is an instructional book, then a series of exercises and etudes set in a well organized pattern will be the goal. I enjoy writing music that I enjoy playing in hopes that others will also enjoy it.
Do you compose with a specific grade level in mind?
Kendor Music is my main publisher and they primarily publish educational music. Therefore, my music covers the Intermediate to Advanced level. Generally I stay away from very difficult music because I feel that although it is great music, it often only gets one performance and then is never played again.
Does being a percussionist make it easier to compose for this instrument?
Yes, I understand the potential and limitations of each instrument I write for. Also, I can try out each thing I write to see if it works musically and technically.
Has composing made you a better teacher and/or performer?
Absolutely. As I write music and listen to it performed by my students or others, I get a perspective of how it affects others. It shows me what I need to do as a performer to make it more interesting, and I can then teach that to my students.
What composers of percussion do you identify with?
I try not to copy others – I like to write in my own style. I want percussionists to recognize my work, and hope that it becomes a recognized style that can identify me as the composer.
How do you feel about performers interpreting your work differently than you intended?
It doesn’t bother me. I feel each person has a right to interpret the music as he/she feels. I was once asked if I ever heard my music as I intended it, and my answer was never. You can call it artistic license, and I think it is fine. Sometimes I hear it close to my intentions, but that is rare.
This interview was excerpted from my 2011 CD/ebook with Mark Records
entitled: Music For Percussion
