An artist/endorser for Yamaha Percussion, Black Swamp Percussion, Innovative Percussion, Remo Drum Heads and Percussion, Beetle Percussion, and Sabian Cymbals, Dr. Tracy Wiggins is Assistant Director of Bands and Coordinator of the Percussion Program at The University of North Alabama. He has studied under the tutelage of: Johnny Almendra, Tricia Bovenschen, Wayne Bovenschen, Michael Bump, Joe Galeota, Ralph Hardimon, Gregg Koyle, Alexander Lepak, Christopher Shultis, Ben Toth, Glen Velez, and Nancy Zeltsman; earning a Bachelor’s Degree in Music Education from Oklahoma State University; a Master’s Degree in Percussion Performance from the University of New Mexico; and a Doctor of Musical Arts Degree from the Hartt School, University of Hartford.
Dr. Wiggins has served as Vice-President and Treasurer of the Alabama PAS Chapter, and President and Vice-President of the North Carolina PAS Chapter. He is currently a member of the Percussive Arts Society Board of Advisors, its Percussion Ensemble Committee, and has served on its University Pedagogy, and New Music/Research Committees. Moreover he has thrice appeared on Focus Day at Percussive Arts Society International Conventions (PASIC), and co-hosted it in 2018; as well as presented clinics at PASIC, and the Midwest Clinic.
When did you begin studying music?
I started in the 6th grade beginning band program along with playing a little drum set (the obligatory learn how to groove to your record collection approach). I did not study piano or any other instruments before, and I do really wish I had taken piano when I was younger.
What made you choose percussion?
I am not really sure. I had an uncle who played the drums in high school, but I never really saw him play. I was just always attracted to the beat, and how it was really the backbone of all the music I was listening to.
Who were your primary teachers?
My first private lessons were in junior high, and actually on timpani. I studied with Sherry Summerfield, who was the sister of my Boy Scout troop leader, and my lessons were at the First Baptist Church because they had a pair of timpani there. Then I began studying with Bob Stephens who was the percussion teacher for our district at the time. My senior year I began to study with Tricia Bovenschen, who was the section leader at Oklahoma State University. In college I studied at Oklahoma State with Wayne Bovenschen. I did my masters at The University of New Mexico with Christopher Shultis. From there I went to The Ohio State University to start my DMA under Michael Bump. After a hiatus to start teaching I transferred to the Hartt School to finish my DMA under Benjamin Toth. While at Hartt I also got to study with Glen Velez, Joe Galeota, and Alexander Lepak. During the summers around my masters and the start of my DMA, I would also travel to New Jersey to spend around two weeks each summer (for about two to three years) studying with Nancy Zeltsman.
When did you decide to pursue a career in music?
When I was a senior in high school. But I was at the time only doing music to prepare for law school. But somewhere along the way, I decided it was really music that I was wanting to do.
Did you have a specific goal: teach, compose, etc.?
That has changed several times. I always knew teaching was going to be a part of things. I love playing orchestral music. But I also had an intense interest in contemporary music (which is what led me to my grad. school choices). I knew that the college teaching route would be a better way to explore than teaching high school. I also really love playing musicals and being in the pit orchestra. And I spent several years marching and teaching drum corps, so that has always been a part of what I do as well, as I truly love that activity. Fortunately, the career I have now allows me to combine all of those things.
Do you focus on a specific area of percussion, if so, did you always?
I don’t. From the beginning I have always had an interest in the very wide range of options we have as percussionists, so I have always tried to stay open to that. It’s the sounds themselves that interest me, not one particular instrument.
Who impacted your musical growth the most?
Several people. Wayne Bovenschen was key in showing me that one can be solid in a range of areas and have a wide range of interests. Chris Shultis was key for my love of Contemporary music, but also just delving into sounds and colors. But the list is very long, as I try to be very open, so I borrow ideas from everyone I run into. And I really try to be sure I give them all credit!
What teaching positions have you held?
I taught for three years as Marching Band Director/Lecturer in Percussion at Samford University. I spent 11 years at The University of North Carolina at Pembroke, where I was its first Director of the Marching Band, and I served as an Instructor in Percussion. After a few years my job transitioned to just teaching percussion. Currently, I am entering my ninth year at The University of North Alabama where I am a Professor of Percussion, and Assistant Director of Bands. Additionally, I have taught the Northern Aurora, Delta Brigade, and the Carolina Gold Drum and Bugle Corps.
What percussionists have inspired you the most and why?
I am honestly inspired by everyone I hear. I have always admired Steve Schick’s skills, and integrity towards music making. Nancy Zeltsman is who I define the sound of the marimba by. But I would be remiss to not point out that Peter Criss was probably the first person who’s playing really influenced me!
Is there a specific genre you enjoy performing the most?
One of the things I love about my career is the WIDE range of things I get to do. A day for me can honestly include teaching a contemporary ensemble, rehearsing percussion ensemble, applied lessons, teaching drumline, and then going to a symphony rehearsal! But from a pure performance standpoint, my true love is probably musicals. I am a musical theater junkie, and I love the challenges that come playing in that genre.
What composers do you identify with and why?
I have very wide musical interests, and it changes daily. I know that seems like avoiding the question. But what composers I identify with changes all the time. I firmly believe in advocating for new music and new composers, and from a diverse range of people. And I really try to work towards helping with that growth. So, in older composers I have always liked Stravinsky, Cage, Mahler, Resphigi, and Shostakovich. Mostly for their approaches to sound and orchestration. Some recent composers whose works I have discovered and love include Molly Joyce, Sara Kirkland Snider, Omar Thomas, Alyssa Weinberg, Shawn Okpebhlo, Sarah Hennies, Tyson Gholston Davis, and more. And if I answered this question tomorrow, this list would probably change. And I believe that’s a good thing.
Do you get nervous before you play – if so, how do you deal with it?
All the time. It is a normal reaction to have. We are in a field where we are constantly putting ourselves out for the judgment of others, and we want to do our best when we do. My first key is to try and over prepare. If I know I have done the work (score study, playing with recordings, worked out notes, rhythms, etc.) to the best of my ability, then I can go in at least knowing I have done the work. Beyond that I try to use some breathing and relaxation exercises I have learned over the years from various clinics and masterclasses.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
I have never in my life played a performance without a mistake. It’s the human element that makes what we do go. I don’t think you so much resolve a mistake, as you must just push on to the next thing so that you do not let a mistake become another, and it begins to snowball on you. We are like athletes in that we have to have a short memory of things. We do not have time to dwell on a mistake at the moment because the next thing is coming up already.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
When I was a student, I practiced as much as I possibly could, on as many things as I could. Now, my practice is primarily gig to gig. I look at my calendar and see what the next thing is coming up and that has to become my focus. With my teaching schedule (and family schedule) I do not have a ton of time to practice just to practice. So it has to be concentrated on what is needed for work. I do have what I feel like is a solid warmup and maintenance routine that I have developed that I can use to keep my hands in playing shape across the various instruments. Also, teaching technique to my students helps remind me how I am supposed to be doing things. I do think if you have a good, solid technical approach, then it can be easier to keep in playing shape; as long as you approach it in a relaxed, natural, and fluid manner.
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?
I think a good musician is someone who can technically and expressively do what they are doing well, and has a sense of curiosity and creativity. I think a good teacher cares first about the development of the individual student, and guides each to be the best musician and person that he/she can be. Each student is different, and has different interests, and I think it is important to keep that in mind. I try to get all of my students to have strong fundamentals on a wide variety of instruments. But I also acknowledge that they will have their own interests, and I want to help them explore and develop those further. When I first started, I was probably guilty of trying to make every student too much the same. As I have gotten older (and seeing changes in the field as to where jobs are, how careers are created by students, and more) I have started to really put more emphasis on helping them find ways to be more individually creative.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
I do. I think that we learn by doing. We learn by having our hands on what we are doing and seeing what works and what doesn’t. I learn so much every time I go and play with other percussionists. Playing with the people I do in various orchestras, chamber groups, etc. is like going back to school for me every time. And I bring all of that information back to my students. I tell education majors all the time that it is dishonest to try and tell students to practice and study in a manner that they did not themselves do when in school. One of my favorite things to tell them is “be the student now you want your students to be in the future.” How they learn to practice and problem solve in the practice rooms, is how they learn how to teach those skills to their future students.
Has teaching made you a better musician, if so how and why?
Very much so! It has made me think about why I do everything I do, as well as helping me become much more efficient with my own technique and playing.
What motivates you to compose?
Typically, most of my writing is for marching groups. I have a couple of percussion works I have written, but I am the only person who has ever performed them. I do have some chamber works for marching ensembles I have composed, but those usually start with a specific need or goal I am looking for, and then it develops from there.
How do you feel when someone interprets your music differently than you intended?
This happens a lot in the marching scene. Once I send it to the group, I must just let it go and know that whatever is going to happen is going to happen. I just give the best product I can, but also know that circumstances may dictate changes as needed. I feel the same about interpretation of other things. Musicians must make it work for them, and as long as what they do is with thorough intent, I am satisfied.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
I wouldn’t, but that’s because I think I lucked into how I ended up preparing. I went to four very different schools, with very different approaches that gave me a lot of different ways of seeing and approaching things. My time in drum corps, especially with different staffs, was invaluable as the marching arts have opened every job door I have had! Going and studying with Nancy Zeltsman fundamentally changed how I hear and see mallets, but also how I approach everything else. I have had the luxury of having great mentors in a wide range of areas; all of which helped me do what I do now.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Always be learning! Seek new opportunities and knowledge. It is very easy to lock in to one way of approaching things, one way of thought, the idea that you have the answers etc. But you must constantly be seeking new methods and new ideas. Put yourself out there in settings that stretch you as a musician and learner. And be humble. Acknowledge those who came before you, and whose ideas you borrow. I know that I follow on the shoulders of all who shared information with me, and my job is to continue passing that information on to others.
If you would like to learn more about Dr. Wiggins, please visit his website at www.tracywiggins.com
