Pablo Rieppi is President of the New York Chapter of the Percussive Arts Society; is Percussion Department Coordinator and Instructor at The Juilliard School, Pre-College Division; and is an Adjunct Assistant Professor of Percussion at Hofstra University. He earned a Bachelor of Music from George Mason University; a Master of Music and Professional Studies Certificate from The Juilliard School; and was awarded an Honorary Doctorate of Music from Five Towns College.
Mr. Rieppi is also the creator and director of Percussion On The Sound (POTS!), a year-round, pre-collegiate group of solo and ensemble musicians in residency at Hofstra University and Five Towns College; and is a faculty member at the Percussion Conservatory, an international online percussion school. His past appointments include SUNY Purchase College Conservatory of Music, Columbia University, Oberlin College Conservatory as well as being a teaching artist with the Juilliard Summer Percussion Seminar, Carnegie Hall, New York Philharmonic, and The American Composers Orchestra. Along with presenting numerous percussion master classes in the United States and abroad, he was most notably invited to do such at the 2023 Percussive Arts Society International Convention.
An artist with Yamaha, Zildjian, and Innovative Percussion, Mr. Rieppi is a member of The New York City Ballet Orchestra and has performed with some of the world’s leading artists: Joe Zawinul, Aretha Franklin, Ray Charles, Joshua Bell, and The Who. With such prestigious ensembles as: the New York Philharmonic, The Metropolitan Opera Orchestra, the Mostly Mozart Festival, the American Symphony Orchestra, The New York Pops, the American Composers Orchestra, Speculum Musicae, the New York New Music Ensemble, DaCapo Chamber Players, the New York City Opera, the Manhattan Sinfonietta, the New York Percussion Quartet, and Perspectives Ensemble. With such Broadway orchestras as: The King and I, Legally Blonde, and West Side Story. And on recordings for such feature films and television shows as: West Side Story, Salem’s Lot, Gemini Man, and Zoolander 2.
As a composer, he wrote the soundtrack for the movie Blackballed: The Bobby Dukes Story; a work for percussion and electronics, Rage and Peace, which was performed by the New York University Percussion Ensemble, and at The Aspen Music Festival; and his composition Rhythmic Roots, which is available through Amazon, has become a popular choice for auditions and recitals. Mr. Rieppi’s pedagogical works include melodic and harmonic accompaniments for Jacques Delecluse’s 12 Etudes for Snare Drum, and are entitled, Accompaniment Music for Solo Snare Drum, Vol. 1, which are available through Bandcamp.com. Furthermore, his book, Snare Drum Technique: Essential Basics for Daily Practice (considered by Percussive Notes to be one of the 30 most utilized snare drum methods), and his 12 Modern Timpani Solos are both available through Bachovich Music Publication.
When did you begin studying music?
I started playing music in high school. I was a drum set player and learned songs and drum parts from listening to LP’s and cassettes. I was highly passionate and would diligently practice every single day. With limited practice skills, perhaps, but certainly with diligence. I was particularly interested in rock, fusion, and jazz in those days. The artists that most resonated with me were the Mahavishnu Orchestra, Miles Davis, Rush, Yes, the Police, Jeff Beck, Dixie Dregs, the Steve Morse Band, the Ray Brown Trio, Billy Cobham, Weather Report, Chick Corea, Buddy Rich, Pat Metheny, Count Basie, and a few others.
Did you always study percussion?
No. My serious music studies started my freshman year of college when I began my classical training.
What made you choose percussion?
I first heard a set of drums in person at a friend’s house. I felt it in my core, and these instruments resonated on many levels. I remember being tickled by the sound of the heads and the hi-hat. While I didn’t start playing until years later, I still remember how profound an impression was made on me that day.
Who were your primary teachers?
Ken Harbison was my first teacher at George Mason University. When I moved to New York, I continued my studies with Elden “Buster” Bailey, Daniel Druckman, and Roland Kohloff at Juilliard. Although I did not officially study with Chris Lamb, I consider all the years playing extra next to him with the New York Philharmonic an invaluable part of my musical growth.
When did you decide to pursue a career in music?
I don’t think I consciously decided on a career in music. I was much more preoccupied with great playing, which took a predictable path toward a full-time music career. Once I started working as a musician, I was more deliberate about forging a path as a performer. I’m lucky to have put the playing first and not be too concerned with making a living. Sometimes those things happen in reverse, which can stagnate the learning process.
Did you have a specific goal?
I wanted to perform on the highest level with the best ensembles. At that time, the groups I aspired to play with were Speculum Musicae and the New York Philharmonic. I was also curious about being involved in Broadway shows and movie soundtrack recordings. My involvement in education and composition started several years later. They are both a tremendous blessing.
Do you focus on a specific area of percussion?
My full-time job is playing orchestral music, but I also play other styles. I am in a rock band, have studied congas, and practice drum set and various styles on different percussion instruments. I spend much of my time practicing marimba and developing extended techniques and styles on instruments already familiar to me. For example, I play orchestral tambourine but also practice gospel tambourine and pandeiro. Every year, I add or review something to remain a student, keep my interest peaked, and maintain my skills.
Who impacted your musical growth the most?
My peers impact my growth. There is always healthy competition and a great flow of ideas and feedback in the music community. I’m fortunate to have excellent colleagues and mentors in my life. I also enjoy learning from young players with refreshing ideas who can add a new musical dimension. I certainly had teachers who impacted my growth, sometimes with only a few words or a short phrase. Some of these suggestions have positively impacted me my entire career. You must have an open mind about learning in order to reach your goals.
What teaching positions have you held?
I have taught at Columbia University, SUNY Purchase College Conservatory, and Oberlin College Conservatory. Currently I teach at The Juilliard School Preparatory Division, Hofstra University, and several summer programs.
What percussionists have inspired you the most?
I receive inspiration from many places. It’s difficult to name only percussionists because I try to emulate other instrumentalists or vocalists when I play. I get inspiration from musicians like: Brian Blade, Brad Meldhau, Martha Argerich, Steve Gadd, Ella Fitzgerald, Radiohead, and Miles Davis, to name a few.
Is there a specific genre you enjoy performing most?
Not really. I’m interested in various genres and try to perform a variety of music (my listening list might be puzzling to some people). At the very least, I try to familiarize myself with different styles so that I can play them as convincingly as possible and be able to communicate them to a student when I’m teaching.
What composers do you identify with?
Unsuk Chin has an incredible ear and imagination for sound. The fact that she expertly moves in and out of any texture or instrument group with an orchestra, and sometimes creates new sounds altogether grabs my attention. She has incredibly colorful and rich sonic ideas. I greatly admire her work. I also enjoy Brad Mehldau’s writing and playing. The album he wrote and recorded during the pandemic, Suite: April 2020, was on repeat play on my listening device for quite a while. If you have the chance, see his solo piano concerts. They are stunning!
J.S. Bach is my favorite composer. Whenever I try to learn, relearn, or teach one of his pieces, I gain an additional perspective on his music. It is ever-evolving. His work is incredibly inspiring and perfectly constructed. He was a phenomenon. Some other composers I admire are Igor Stravinsky, Duke Ellington, Thomas Ades, John Dowland, Gyorgy Ligeti, George Crumb, Sergei Prokofiev, Thom Yorke, Kaija Saariaho, Ludwig van Beethoven, and the list goes on and on.
Do you get nervous before you play?
It’s common for everyone to feel nervous at times, especially when music holds a significant meaning. However, if it happens every time you play, then you need to find the more profound cause for your anxiety. When I feel a bit jittery, I prioritize regulating my breathing. I focus on deep inhalations and exhale any tension; taking five to six breaths multiple times daily. Prior to performing, I engage in breathing exercises as my performance time approaches. Additionally, having several positive affirmations handy is beneficial to maintain focus. For instance, repeating phrases like, My snare drum roll is as smooth as silk, reinforces confidence and can be practiced daily to rewire the subconscious. It’s imperative to kill negative thoughts as they can hinder performance. Recording myself frequently helps me pinpoint areas needing improvement and allows me to be more focused and make informed adjustments; ultimately bringing me closer to my performance goals. Consistent practice of fundamentals is critical to preventing nerve-related issues.
Do you ever make a mistake while performing?
Mistakes are a universal occurrence. Even advanced musicians encounter them, albeit less perceptibly. What matters most is how we react when they happen. Instead of dwelling on mistakes, it’s best to seamlessly integrate them into the performance as though they were intentional. Sometimes, mistakes can even enhance the musicality of a piece. Ultimately, musicality and groove trump perfection. Emphasizing great phrasing and a deep understanding of style elevates a performance beyond technical accuracy.
Has your practice regimen changed from when you were a student?
While I practiced more hours in my youth due to greater availability of time, I’ve become more efficient and strategic in my approach to practicing. I now quickly identify issues and implement targeted solutions, often utilizing technology like slow-motion camera recordings to pinpoint technical challenges. I practice regularly. I always use a drum pad; practice scales and arpeggios; as well as 10 – 15 minutes of ear-training and sight reading daily. This is in addition to practicing repertoire and some groove elements. And I always use a metronome.
Do you think that performing and teaching are intrinsically intertwined?
Absolutely. A proficient teacher is often an active performer, enabling him/her to continually refine his/her craft through firsthand experiences. Engaging with music in live performance settings allows teachers to glean insights and techniques to impart to their students. The symbiotic relationship between performing and teaching ensures that educators remain immersed in the evolving landscape of music, equipping them with relevant and practical knowledge to guide their students effectively.
Has teaching made you a better musician?
Most definitely! Improving my teaching allows me to better understand my playing from a technical and psychological perspective. Most problems stem from a lack of fundamentals or an unclear perspective on the obstacle. As a result, I teach many fundamental concepts, which, in turn, strengthen my own foundational skills. I also gain an understanding of how my thinking directly affects my playing.
What inspires you to compose?
Composing is the world’s largest, unsolvable puzzle. There are infinite combinations and ideas; attempting to choose a great combination is fascinating. I really love to write. Whether it’s good or bad makes no difference in my enjoyment and the knowledge I extract from the process.
How do you feel when someone performs your work differently than you intended?
It depends on how you define differently. If the performer disregards rhythms or other defining ingredients, I am disappointed. Suppose someone learns the music and has a different but thoughtful feel, tempo, phrasing, sound choices, etc. In that case, I feel the piece has achieved another level of success, motivating the performer to put his/her personality into the work. I find that very satisfying. Music is a living, breathing art form. It exists when heard, and each performance has a degree of individuality. That is a beautiful thing.
Knowing what you know today, would you change how you prepared for your career?
Yes! I would have taken advantage of my current practice skills; I would have spent more time playing piano and practicing a regular ear-training routine; and I would have started meditating the first day I touched a percussion instrument. In other words, I would have exercised my mind as vigorously as my hands. The payoff is exponential. When I was younger, I emphasized the physical part much more. I have reliable hands because I spent numerous hours in the practice room. However, I didn’t settle into a more inclusive and holistic developmental approach until I was out of school. I urge young players to think about this from the very beginning.
What words of wisdom would you share with students?
Do not stop learning. Always be a student and continuously build your infrastructure of knowledge. Make connections between your skills. Identifying how skills translate to other areas is a superpower. Be a good citizen. Work well with others and respect who they are. Work hard and work smart. Make each practice hour count. After one month, you will notice that a tiny step forward per day is a tremendous distance. Have a goal in mind. The size of the goal is irrelevant, but completing it is essential. Always use a practice journal. It will give you clear goals and ensure your progress. Exercise your mind. Meditation and mental practice are excellent learning and peak performance tools. Use them every day. Love what you do! That is the fuel for success.
If you would like to learn more about Mr. Rieppi, please visit his website: www.prieppimusic.com
