Earning degrees from Louisiana State University, The Ohio State University, and Frostburg State University, Dr. David P. Eyler is an Emeritus-In-Residence Professor at Concordia College (Moorhead, MN), and is a Faculty Artist in Residence at the Lutheran Summer Music Academy at Valparaiso University. At Concordia he was the Director of Percussion Studies, and conducted the Concordia Percussion Ensemble and Marimba Choir, which released three compact discs: Wood – Metal – Skin, Reckless, and Christmas Favorites. Prior to his appointment as the first full-time Professor of Percussion at Concordia, he served in the unique position as Tri-College Instructor of Percussion for North Dakota State University, Minnesota State University-Moorhead, and Concordia College from 1987 to 2001.
Dr. Eyler has directed elementary through high school concert and marching bands; directed university wind ensembles; served as Assistant Conductor of the Louisiana State University Symphony Orchestra; served as Acting Director of Percussion Studies at Indiana University of Pennsylvania; as Director of The Concordia College Jazz Ensemble I; as a clinician and adjudicator for marching band festivals, all-state band and orchestra festivals, at district and state solo and ensemble contests throughout the United States; and is an Educational Clinician and Endorser for Mike Balter Mallets, Grover Pro-Percussion, Evans Drumheads, and Sabian Cymbals. His original compositions and arrangements are published by Colla Voce Music, Ludwig Masters Publishing Company, Music For Percussion, Per-Mus Publications, Pioneer Percussion, Row-Loff Productions, and the Musser Division of Selmer. Moreover, his scholarly articles have appeared in The Instrumentalist, Percussive Notes, and The Percussionist Journal.
Starting in 1989, Dr. Eyler hosted the Annual Concordia Day of Percussion, and due to its success, he was invited to present several times at the Percussive Arts Society International Convention (PASIC) about organizing such events. His affiliation with the Percussive Arts Society also extends to serving as a five-term member on its Board of Directors; as President and First Vice President of its Minnesota Chapter; as well as being a member of its Percussion Ensemble, Education, and College Pedagogy Committees at the international level.
As a performer, he currently serves as Principal Timpanist of the Fargo-Moorhead Opera Orchestra, and the Fargo-Moorhead Ballet Wonderland Orchestra. Dr. Eyler also served as Principal Timpanist of the Fargo-Moorhead Symphony Orchestra (FMSO) from 1987 until 2022. During his tenure with the FMSO, he was featured as a timpani, marimba and xylophone soloist, conducted the orchestra, served two consecutive terms on its Board of Trustees, was Chair of its Orchestra Committee, and premiered and commissioned Russell Peterson’s Concerto for Timpani and Orchestra. Furthermore, he was Principal Percussionist of the Baton Rouge Symphony and Baton Rouge Opera Orchestras; performed with the Columbus, Lake Charles, Rapides, and Potomac Symphony Orchestras; and has been a guest soloist and conductor with numerous high school, college, and community bands and orchestras throughout the country.
When did you begin studying music?
I began in the fourth grade. I continued throughout junior and senior high school, and also at the Peabody Conservatory of Music’s Preparatory School while in high school.
Did you always study percussion?
No, I started on the accordion, followed by the piano, and then the clarinet for a few weeks. I settled on percussion partly because my Mother said, Oh, it will only cost me a practice pad, book, and a pair of drumsticks to let you begin!
What made you choose percussion?
While in elementary school, I lived in a duplex, and my neighbor had a drum set and his playing drove me crazy. It inspired me to want to learn how to play drums and show him up.
Who were your primary teachers?
Mr. James Thrush, a band director and percussionist who started me in the fourth grade; Mr. Michael Pastelak and Mr. Raymond Dombrowski who served consecutively as my high school band directors; Mr. Robert Mitchell, a retired West Point military musician, who was my first private percussion teacher; Mr. Charles Memphis who I studied with at the Peabody Conservatory of Music; Mr. Steve Ashcraft, who was a drummer for the Hank Levey Band, and taught at Towson State University; Mr. Mark Capaleni and Mr. Steve Lazotte, who were both Graduate Assistants at West Virginia University and taught part-time at Frostburg State; Dr. James L. Moore, who I studied with at The Ohio State University; Dr. John Raush, who I studied with at Louisiana State University; and lastly, Mr. Cloyd Duff, who I studied under at his Master Classes.
When did you decide to pursue a career in music?
After being accepted into the Preparatory School at the Peabody Conservatory of Music as a high school junior, I decided I would focus on music in college. Because of the cost to attend Peabody for my college studies, I decided to attend Frostburg State University in Western Maryland for my undergraduate degree, and studied Music Education and Music Performance simultaneously. I was also on work-study in the music department office and was permitted to use some of my paid hours to organize and direct the first percussion ensemble at Frostburg State during my freshman year. That experience led me to have my first of two Graduate Assistantships at The Ohio State University under the tutelage of Dr. James L. Moore; and my second under the tutelage of Dr. John Raush at Louisiana State University where I completed my Doctor of Musical Arts degree.
Did you have a specific goal?
My goal at first was to become a high school band director and come back to take my former director’s job at Bel Air Senior High School. My goals changed after attending several percussion ensemble performances at West Virginia University under Philip Faini’s direction. After that experience, I knew that this was what I wanted to do for the rest of my life.
Do you focus on a specific area of percussion?
I focus on all areas of percussion when playing and teaching! However, I started on the snare drum originally, and then focused on the next area as time and teachers presented new instruments to explore. For instance, I mainly focused on snare drum and drum set in my early high school days, and then when I was accepted into the Preparatory School at the Peabody Conservatory, I was introduced to the marimba, which we did not have at my high school. It was an eye-opening experience and I fell in love with the instrument. Being at the Conservatory on weekends, I would stay much later after our sessions were completed to practice on its marimba. When I began as a Teaching Associate under Dr. Moore, he had a curriculum established to study one instrument (unless it was multiple percussion) each quarter. While teaching as a Sabbatical replacement for Dr. Gary Olmstead at Indiana University of Pennsylvania, I learned that he taught two instruments each semester, and didn’t begin timpani study until one’s sophomore year. He believed that students should have one year of theory and ear-training before attempting to study timpani. I continued my teaching style after Gary’s since I also taught in the semester system.
Who impacted your musical growth the most?
This is almost impossible to say. I had so many people that, through their guidance, led me to explore things in the music field in general, or percussion field specifically, that I didn’t know existed, and challenged me to explore things I was not familiar with. The following are a few of the mentors I gained much valuable knowledge and experience from that have made me a better teacher and performer today: Dr. James L. Moore who allowed me to explore music and techniques on the marimba that I hadn’t experienced before that time. Along with him in the percussion studio at OSU, was Dr. Linda Pimentel, who had her desk right next to mine, and I learned so much from her as well, especially through playing in the Faculty Marimba Quartet at OSU. She was considered one of the top marimba artists at that time. Jim also taught me a lot about writing (he started as an English Major at the University of Michigan) and how my research could be brought to the attention of others through articles, later published in Percussive Notes magazine, which he was the founder and publisher of before it was adopted by the Percussive Arts Society.
Dr. John Raush made me a better Timpanist, all-around percussionist, and gave me numerous opportunities to teach students and direct the majority of the LSU Percussion Ensemble performances. He was also a tremendous exemplar of leadership, compassion, time management, and of how to be a great teacher by making himself available to his students anytime they needed help and encouragement.
Lastly, Dr. Gary Olmstead who showed me how being an organized teacher could benefit one’s entire percussion program. When I taught for him as a Sabbatical Replacement, his organization of the program was something I learned from and copied for many years in my own programs. His students embodied a certain culture that I always appreciated and tried to instill in my students. He strongly encouraged his seniors and graduate students to assume a leadership role in helping train the younger ones.
What teaching positions have you held?
I had the privilege to serve at the following institutions: Percussion Faculty – Lutheran Summer Music Program; Professor of Music – Concordia College; Assistant Professor of Music – Minnesota State University-Moorhead; Senior Lecturer – North Dakota State University; Percussion Instructor – Valley City State University; Jazz Ensemble Director – Concordia College; Percussion Instructor – International Music Camp’s Summer School of Fine Arts; Music Administrator – River City Music Education; Band Director – St. Jude School; Assistant Professor of Percussion – Indiana University of Pennsylvania; Director of Bands and Department Chair – Redemptorist Senior High School; Assistant Conductor – Louisiana State University Symphony Orchestra; Graduate Teaching Assistant – Louisiana State University; Graduate Teaching Associate – The Ohio State University; Percussion Instructor – The Ohio State University Marimba and Vibraphone Summer Camp; and Music Director – Frostburg State University Percussion Ensemble.
What percussionists have inspired you the most?
Buddy Rich: growing up on the east coast, I had numerous opportunities to witness Buddy’s Big Band in Baltimore, Philadelphia, Washington, etc. My Mother would seem to always find out where he was playing and took me to see him. He was why I stuck with the drum set in my early days.
Gordon Stout: I first met and heard him perform at The Ohio State University Summer Marimba Camp in 1977 and didn’t realize what was possible on the marimba until I heard that concert. It was one of the first times that his Two Mexican Dances was performed in public, though it hadn’t yet been published. He was amazing to say the least.
Gary Burton: watching him perform at PASIC several times inspired me to learn more on the vibraphone after each performance. I now have my students watch, and report on, the brief clinic sessions he does on the Vic Firth website.
Clair Omar Musser: due to my doctoral research, I got to know quite a bit about Clair and his amazing career. Through his letters, and then meeting him in person, I was inspired to attempt to try and emulate things that made him successful. Although it was towards the end of his life, and his memory wasn’t as clear as it used to be, he made me want to do more research on the topic of the history of the marimba and marimba ensembles.
Dr. John Raush: watching and learning from John was extremely inspirational! He was one of the most gifted performers I’ve ever had the pleasure to work with! I still remember to this day an early lesson where I was preparing for my recital to be accepted into the DMA program. After working through the first movement of Creston’s Concertino for Marimba, he asked me if I had the piano score to it. He then went to the piano and began playing the introduction almost note-perfect! I knew then that I was going to study with a true professional. Dr. Raush also mentioned that he started as a violin major in college before switching to percussion. While he was a DMA student at UT – Austin, he played in the percussion section of the Austin Symphony. However, when there wasn’t a percussion part for him in the repertoire, he would take out his violin and play in the second violin section! Most people don’t know these facts about John and the amazing abilities he had. We both performed in the Baton Rouge Symphony, where he was Principal Timpanist. If I didn’t have a percussion part, I would take the opportunity to grab a score and watch and listen to him play.
Bob Becker: seeing and hearing Bob perform with NEXUS at PASIC has always been a highlight and made me hit the practice room as soon as I returned home. I didn’t realize it at the time, but I actually saw him perform with the Paul Winter Consort when I was in college at FSU. He had a timpani solo that was simply amazing. After meeting him in person in 1979, I started a relationship with him discussing percussion keyboard history. A very fond memory of Bob is when I sent him a first draft to the first chapter of my DMA paper. We arranged to meet at PASIC to discuss it, and after the very famous PASIC concert in Indianapolis in 1981, where NEXUS returned for four encores, Bob met me at breakfast the very next morning to share his findings on my writing! I couldn’t believe how gracious he was. I’ve also had the sincere pleasure of having Bob as our guest artist on four occasions for the annual Day of Percussion I’ve hosted since 1989, including twice with NEXUS!
Is there a specific genre you enjoy performing the most?
That’s a very thought-provoking question. I do love playing solo marimba repertoire. However, as I stated before, I love working up jazz tunes on the vibraphone. When I had my office at NDSU, I would warm up about an hour before our FMSO concerts on the drum set. Though I was Principal Timpanist, it gave me a good feeling and all of my limbs were loose and ready to go. I guess the easy answer, and most truthful, is that I enjoy whatever I’m playing at the time. Some of my students have asked me the question: What is your favorite instrument to play? I have to reply the same as above. Students have heard me playing timpani with the FMSO, then a marimba concerto with a concert band or orchestra, and even to quickly sub on drum set during a concert for an ailing student. I feel that my place is to be a jack of all trades and try to be as successful as possible on each instrument. I’ve tried to be an all-around performer and teacher. Of course, if you asked me to play Big Swing Face or Groovin’ Hard with the jazz band, I’d never turn it down!
What composers do you identify with?
David Maslanka and David Gillingham. I call them my favorite two Davids. Their music for percussion ensemble is second to none, and I’ve had the pleasure of having both of them in Fargo-Moorhead at my concerts over the years. In particular Maslanka’s Hohner, Crown of Thorns, and Gillingham’s Stained Glass come to the top of my list. Beethoven and Tchaikovsky are at the top for orchestral repertoire. There’s not a bad timpani part by either of them! Tchaikovsky’s Romeo and Juliet Overture Fantasy is at the top of my list to perform. I can listen to it all day; by different orchestras of course. The BIG timpani roll and then fading heart beat is such a big part of the final death scene at the end!
Do you get nervous before you play?
Yes! Almost every time! However, the older I get, the easier it gets. It’s really a matter of mind over matter. I tell myself that I know this material (at least if I’ve practiced it successfully) better than anyone listening to me in the audience (or on-line these days). I would sit on my stool for a while after a symphony concert and evaluate how well I did by the number of mistakes I made, or an entrance I missed. I’d count the places I may have added a note for the composer or left one out. Were the dynamics exactly what the conductor wanted, or did I forget and keep that staccato mallet when I should have changed to the medium soft one for the roll? It’s the extra little things that could have been different to bring that piece to an ultimately great performance. Often I would say, Wow, I played every note on the page at the correct time with the appropriate rhythm! There are times where I have resorted to certain medications to assist with performance anxiety, which seems to have taken hold of many musicians. Those can be a result of other bodily functions that may have changed over time. One should carefully look at those conditions with a doctor and make the appropriate decisions; each person can react differently to medication.
Do you ever make a mistake while performing?
Yes, but nothing earth-shattering where it changed the outcome of a performance. The key is to try and remove the error from your brain so that it doesn’t affect the rest of the performance. You must learn to put yourself in your happy place and go on to the next event. That’s especially difficult for a young performer who is so concerned about what everyone thinks about his/her skills. You must learn to tell yourself that the Sun will come up tomorrow, and life will still go on. We have all made some sort of mistake that we’d love to have back, but that’s part of life, especially as a musician! One must learn to accept mistakes and learn from them for the next time. Of course, you will have some musical activities where everything went as planned, or even above and beyond!
Has your practice regimen changed from when you were a student?
Yes, my practice routine has changed drastically over time! When I was in my later years of high school, and upon entering college, I continually worked on new things; learned many new concepts; some on instruments that were very new or unfamiliar to me (i.e. hand-crash cymbals or vibraphone). With my undergraduate class schedule, I made sure that practicing was a high priority, and sometimes class material took second place. Whereas, in graduate school, the classes got a little more challenging, and practice time became shorter. In turn, I learned how to prioritize my time to achieve the most in what was allotted. After graduating with my fourth degree, and getting my first college teaching job, I found much less time to practice and devoted 90% of my time trying to build the percussion area at three different universities at the same time. I was also performing with the FMSO and FM Opera Orchestra, and presenting an occasional faculty recital. I learned so much about time management during those first 15 years!
How do you define a good musician and a good teacher?
Growing up with music from elementary school on, I often compared those two questions to the same person. As I reflect on it, not very often can I say that the same person is a good musician and a good teacher. Many times, one of those two areas stood out as a much stronger ability. I will say that I learned something from every teacher I’ve had, even if it was to try a different avenue when I present material to my students.
The first teacher I thought was the world’s best was my high school band and orchestra director, Mr. Dombrowski. He was the one I wanted to be like. He was an excellent director, but also played the violin, several woodwind instruments, piano, and yes, even the drums. He also had a local combo he did weekend gigs with, and still took violin lessons with a member of the Baltimore Symphony! As you can see from this discussion there were many others that I looked up to for many reasons. If I must give a statement for those two categories, it would be: a good teacher is one that cares about my well-being, inspires me to practice and get better at my craft, asks lots of questions of me at every lesson, challenges my thinking and guides me forward, and makes me want to be just like him/her. A good musician is one whose musical ability far accedes the norm. They also inspire me to practice more and be a better player because of their amazing performance, but also makes me feel like I could be like them and do what they’re doing some day.
Do you think that performing and teaching are intrinsically intertwined?
I think that one supports the other. Examining the music performances of my students in order to help them become more proficient and accurate, challenges me to listen and dissect their work for correct notes, rhythms, dynamics, articulations, etc., and to choose mallets and instruments for the best tone color and sound production. These are the same things I must do myself before I perform. It keeps my mind actively engaged and focused. When I’m rehearsing and performing with the orchestra, I’m thinking how I can relate my experiences to teaching that piece to my students. Directing the percussion ensemble brings balance, blend, and musicality to the forefront which also carries over into my orchestral performances. I’m also seeing myself through the conductor’s eyes and learning from their actions during rehearsal, concert techniques that I can take and use when directing my own ensemble. I’ve always told my students, we learn things to do, and things not to do, from every teacher and conductor. Students watching online performances, personally attending clinics and concerts, studying new musical selections and performance techniques, have also enlightened me about new ideas and techniques, and thus inspired me to seek out more about these topics and share them with other students.
Has teaching made you a better musician?
I would say that’s a given. When teaching someone, particularly in an applied lesson setting, you hear or see things differently than when you’re performing. Many of those are the mannerisms that the player uses. As a percussionist, every move must be considered; even when getting up from your seat to play an instrument during a concert because we can be very distracting to the audience in our movements. One of my teachers went so far as to say that when sitting and waiting for your next entrance, do not cross your legs for it gives a sign to the audience of being too relaxed. Also, while teaching the same piece of music to several musicians, I hear lots of different interpretations from them, and a few might be something that I will try myself in the future. We’re learning from each other. The subject of interpretation is one that I really enjoy discussing with my students. What were the composer’s intentions; and how far can you stretch that phrase or dynamic; are you staying within the boundaries of what the composer asked us to do? All of these are a number of topics I often ask, and as I said, greatly enjoy discussing.
What inspires you to compose?
When I see limited repertoire in a certain area, I feel an obligation to write something for it. For example, a few years ago I saw very little literature for percussion trios, especially at the advanced high school and college level. I was performing in a group that toured in elementary schools demonstrating the instruments of the percussion family. So I chose to write some pieces to feature certain areas like Latin percussion, and even the basics for snare drum, bass drum, and hand crash cymbals. I will also attend a concert, hear a new work, and be inspired to write something similar. Even just the unique instrumentation of that new work can ignite my thoughts. My first published compositions were snare drum solos because that was the instrument I was most familiar with at the time. The teacher I was studying with then had me work on odd-metered solos in a rudimental style, so I chose to write in such a manner. After beginning to direct the marimba choir and percussion ensemble, I tried my hand at several arrangements for each after I heard arrangements of popular music, Christmas carols, and folk songs done by others, especially by the group Marimba Nandayapa.
How do you feel when someone performs your work differently than you intended?
I really don’t mind musicians taking liberties with my pieces, as long as they stay within the boundaries that were presented. This is what I referred to earlier regarding my discussion on interpretation with students. I find it interesting to see and hear what another musician will do with my work. I think as long as the music is not harmed in any way, it’s just fine. I think we all agree that changing notes, rhythms, the form, or even the tempos drastically destroys the composer’s original intentions for his/her composition. With today’s easy access to Zoom and other communication tools, musicians can have conversations with composers and ask for clarification, make suggestions, and easily perform their rendition for the composer’s approval, suggestions, and recommendations.
What words of wisdom would you like to share with students?
As I advanced in my career, I worked on each of the items listed below. The key for me would have been to seriously get to work on these things much sooner than I did.
● Study as much as you can!!!
● Take advantage of every opportunity, within reason, to educate yourself.
● Go to concerts, listen and observe.
● Watch professionals do what you hope to do.
● Observe how conductors rehearse.
● Attend clinics and workshops; PASIC is a given. I’ve learned so much attending since 1979.
● Try to observe a seasoned teacher teach lessons on various instruments and repertoire.
● Go on YouTube and learn from performances, both good and bad.
● Continue taking lessons even after you have your dream job!
● Keep your Resume/Vita up to date and continually add to it.
● When offered a job early in your career, never ask, How much does it pay? Just go and do what is asked of you with a big smile.
● Enjoy each opportunity and learn from the experience, for it will lead to many others.
