Dr. Cary Dachtyl is the owner of Permus Publications, and is an Adjunct Professor of Music teaching applied percussion, as well as directing the percussion ensembles at Kenyon College, and Mount Vernon Nazarene University. He completed his undergraduate work at Baldwin-Wallace College earning a Bachelor’s of Music Education and a Bachelor’s of Science in Mathematics. He then attended The Ohio State University where he received a Master’s of Arts in Math Education, a Master’s of Music, and Ph.D. in music as well.. Dr. Dachtyl is a Past-President of the Percussive Arts Society’s Ohio Chapter, and received the Outstanding Chapter President Award in 2006 for his contributions to the Ohio Chapter. He maintains a private studio in Columbus, and owns and operates Pterodactyl Productions, a recording studio in Columbus specializing in acoustic percussion, as well as analog and digital keyboards.
Dr. Dachtyl served as the Music Director and Conductor of the Welsh Hills Symphony Orchestra; as Principal
Timpanist of the Cleveland Opera Orchestra, and Welsh Hills Symphony Orchestra; and as a Percussionist with the Cleveland Ballet Orchestra. He has also performed with the Columbus Symphony, Opera Columbus, the Ohio Chamber Orchestra, Columbus Light Opera, Pro Musica Chamber Orchestra, Cantari, the Saint Joseph Cathedral Brass, the Springfield Symphony, the Knox County Symphony, and the Central Ohio Symphony Orchestra; in productions with Mannheim Steamroller, Diana Ross, Roger Williams, Crystal Gayle, Richard Adler, and as Principal Orchestral Percussionist for the Moody Blues and Yes Symphonic Orchestral and as a soloist with the Welsh Hills Symphony, Central Ohio Symphony, Knox County Symphony Orchestra, the Kenyon College Wind Ensemble, and the Westerville Concert Band.
When did you begin studying music?
My parents had all the kids play in band. I went to a school instrument “fitting” when I was in third grade. St. Charles Borromeo had a great music program. I wanted a guitar but the folks said I had to play a band instrument first. The Ludwig silver sparkle snare drum was shinier and way cooler than the clarinet they were trying to talk me into (we already had one of those). I started lessons with Harry Damas, a great big band drummer, and vibist in the Cleveland area, and studied with him until I went to college. Wayne Miller ran the school band and orchestra, and by fifth grade I was the youngest member of the orchestra.
Did you always study percussion?
Yes. I fiddled a little bit on a french horn and double bass in High School, but ended up working on timpani and mallets more.
What made you choose percussion?
The glory. I don’t really have an answer to that. It kinda chose me. I always felt comfortable playing in the percussion section.
Who were your primary teachers?
As I said earlier, I studied with Harry Damas from third grade through high school, and a few lessons in college. Harry taught rudimental and swing drum set. He also started me up on timpani and jazz improve on vibes. I found out later that some of the best players in Cleveland studied with Harry, or Bob McKee. I took a few lessons from Bob, but stayed with Harry through school. At Baldwin Wallace College I studied with George Kiteley. George was an amazing timpanist and a good player on all percussion instruments. I learned a lot from George about being a pro, as well as being a player. I took some lessons with Linda Pimentel through The Ohio State University Marimba Vibe Camp, and afterwards at Ohio State (OSU). I ended up doing my graduate work at OSU and studied with Dr. James L. Moore. Jym led me though my Masters in Percussion, and Doctorate with a focus on percussion and conducting.
When did you decide to pursue a career in music?
I was on track to be an engineer with good math and science skills in high school. My dad asked me what I wanted to do and I thought I might like being a band director. He asked, “When will you know if you can do that?” No one in the family did music or education. I come from a family of tool and die makers. I told him I would know after one year of music classes if I could cut it. He said OK, but asked that I take all my electives in math so if it didn’t work out, I’d have another road ready to go down. I ended up with a B.S. in Mathematics and an M.A. in Math Education in addition to a B.M.E., M.M., and Ph.D. in music. So my career in music has always been split between music and “something else.” My first job at Elyria West High School was as a Math Teacher, and Assistant Band Director/Jazz Band Director.
Did you have a specific goal: teach, compose, etc.?
I truly wanted to be a high school band director, and did it for a while. After three years I went to grad school and got my Ph.D. I kind of priced myself out of the high school market, and I wasn’t able to return to my old job. I missed playing while I was teaching high school, and found I needed the performance aspect of music to remain happy and sane.
Do you focus on a specific area of percussion, if so, did you always?
I find I play a lot of drum set now. It was never my focus. In high school and college, I was primarily a timpanist and concert percussionist. My wife, who is a percussionist and Hammond B3 artist, has me playing BeBop and Organ Jazz in her trio/quartet. I still attempt to play concert percussion, but the market demands have made me a better drum set player.
Who impacted your musical growth the most?
Probably my first teacher, Harry Damas. He was a big band drummer, but was very proficient
on the vibes and timpani, so he prepared me well for college. In higher education I’d have to say George Kiteley at Baldwin-Wallace, and James L. Moore at Ohio State. I also have to credit the teaching and example of Linda Loren Pimentel, who I studied with at OSU and the OSU marimba/vibe camps. I probably wouldn’t have played as much marimba as I do now if it wasn’t for her. Very inspirational as both a teacher and performer.
What teaching positions have you held?
Get out your pad. I started teaching private lessons while in high school, and my first studio was at the famous DiFiore’s Music store in Cleveland. After undergraduate school, I was the Assistant Band Director, Jazz Band Director, and Percussion Line Instructor at Elyria West High School; I also taught middle school band at Westwood Junior High in Elyria Ohio, as well as high school math and calculus. Those math degrees, and the double major in college, came in handy. I went to The Ohio State University and was a Mathematics Teaching Assistant for two years while I finished my Master of Music, and M.A. in Math Ed. I then became the Percussion TA under James L. Moore for three years while I completed my Ph.D. in music. After grad school, there weren’t very many college level jobs that were full time, so rather than being a working itinerant musician, I used my computer and math background, and got a day job with the state government, and played and taught on the side. I retired early, and am currently the Percussion Instructor and Percussion Ensemble Director at both Kenyon College, and Mount Vernon Nazarene University.
What percussionists have inspired you the most and why?
Gary Burton for his style, technique, and musicality, as well as his work in education and administration – proving you can do it all. Mel Lewis, Art Blakey, Buddy Rich, Steve Gadd, Billy Cobham, Bill Bruford, Neil Peart, and John Bonham on drum set. They are all original voices that I loved to listen to. Cloyd Duff on timpani just because he was the best. Also because he was a very nice and encouraging guy when I met him back in high school. Leigh Stevens, She-e Wu, and Linda Pimentel for helping to raise the playing of marimba to a high art form.
Is there a specific genre you enjoy performing the most?
Progressive Rock and BeBop on drum set; Opera and Orchestral literature on Timpani; Chamber Music on marimba; and Jazz on vibes. I’ve always been a generalist. I’m happy as long as I’m playing somewhere.
What composers do you identify with and why?
I’ve always enjoyed playing Bach on marimba; many of Colgrass’ pieces for the percussionist in me; Milhaud for his Concerto for Marimba, Vibraphone and Orchestra, and his La Création du Monde; Beethoven and Brahms for timpani.
Do you get nervous before you play – if so, how do you deal with it?
Never been a problem for me. I think it was because I was called on to perform in third grade and never learned to be nervous.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Mistake? Surely you heard it wrong.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
There is almost no time to practice after college. I find time now that I am out of the nine to five rat race. I keep fresh by teaching. A lot of duet playing helps.
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?
Although I know some great teachers that do not really play much, I find that to be the exception rather than the rule. A good teacher should be able to demonstrate and critique. I have students playing stuff I don’t have under my hands, but I think my students see the way I approach a piece when I perform, and I hope notice a professional approach to my performance. I’ve always had teachers that were good performers, so my view hasn’t changed much.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
I think that is mostly true. As I have said, I’ve seen exceptions but some of the best teachers I’ve had are good performers. The opposite is not true. Not all great performers are good teachers. I think a person has to learn how to break down a process and be able to relate it to the student. Many great performers don’t take the time, or don’t believe it’s necessary to analyze how to approach a piece of music.
Has teaching made you a better musician, if so how and why?
I think so. There has never been a time when I haven’t taught.
What is Pterodactyl Productions, and what motivated you to start it?
The production company is a business name that covers all of my non-Permus musical activity. We record, perform, compose, arrange, and do Finale engraving, as well as teach lessons. My accountant suggested this as a way to keep everything in order for the tax man. I highly recommend the use of a real accountant that has experience with small business people. Mine has been invaluable.
How did you become the owner of Per-Mus Publications, what is its focus, and has it been what you expected?
When James L. Moore was in hospice in 2014, he called and asked if I would like to buy his company. He was concerned that the many good arrangements he had collected over the years would be shelved by any other company that bought his publishing company. Along with maintaining the catalog of great percussion music, most of it educational in nature, I have slowly expanded into publishing some higher level pieces that are more challenging. We have not stopped offering new educational pieces, and I currently add about a dozen new works a year through Permus. Jym said “try it for a year or two.” He and his wife had a great time with the company, and said “if it doesn’t suit me, don’t be afraid to sell it. There will be people interested.” I’ve had several offers. I think I’m keeping it. It’s been eight years now.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
Maybe, hard to say because I figure I’ve had about four plus careers already. Who can prepare for that? The market for teachers and live musicians always changes. I had planned on being a band director for my entire life. I only did it for three years. Knowing what I know today I would have bought many more shares of Apple than I did.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Personally I found out early on that my being an educator required me to be a performer and vice versa. Be open to all opportunities. Playing in a Polka Band can be as rewarding as playing in a symphony. As with most people you are probably not going to end up where you thought. You’re probably not going to get there the way you thought. What ends up making you happy isn’t going to be what you thought. And it’s usually better than you thought. Music is a gift that will keep you young and vibrant. You must play.
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