As a child, Todd Ukena would intently listen to his mother, Dorothy, play show tunes on the piano; thus crediting her for his love of music. It was in grade four, that he would follow in her foot-steps and began studying the piano, while wishing that he could play the snare drum. And in grade six, his wish was granted when he was given the opportunity to participate in the school band program.
Always dedicated to his musical studies, Mr. Ukena was also quite adept at mathematics and envisioned himself becoming an aeronautical engineer. That is until Dr. Eugene Ulrich, from Phillips University, came to teach a course in music theory at his high school. So inspired was he by Dr. Ulrich, and for that matter, his high school music teacher, Mrs. Martha Lee Griffin, that he altered his direction and decided to pursue a career in music.
Upon graduating from high school, he formally studied percussion at Phillips University in Enid, Oklahoma, with Mr. Eddie Lockhart; earning his Bachelor of Music Education degree in 1980. Following his time at Phillips, he attended the University of North Texas from 1981 – 1982 where he studied under the tutelage of Mr. Ron Fink and Dr. Robert Schietroma. And in 1988 he obtained a Master of Music Degree in Percussion Performance from the University of Oklahoma under the direction of Dr. Richard Gipson.
As a performer, Mr. Ukena’s experience is rather diverse with numerous performances to his credit as a soloist, or with symphonic, jazz and percussion ensembles. Moreover, he marched with “The Pride” of Oklahoma Marching Band, and with the “Valiant Knights Drum and Bugle Corps” where he later served as a drum-line instructor and arranger.
In the field of music education he taught from 1982 – 2012 for the Weatherford Independent School District, serving as the Director of Music at its Mary Martin Elementary School. In addition, he served as the Front Line Director of the Weatherford Kangaroos Marching Band from 2006-2010; and from 2009 – 2011 as an Adjunct Professor of Percussion at Texas Wesleyan University in Fort Worth, Texas.
Ironically, one of Mr. Ukena’s most noteworthy accomplishments came about in 2003, when a mandate was issued by the state of Texas requiring all students to have thirty minutes of daily physical activity. Due to scheduling conflicts, this mandate affected not only the physical education program, but also the music program at Mary Martin. In turn, he was charged by his administrator to figure out a creative way to meet this new educational requirement; and what resulted was the “Integrated Music & Physical Education Program” (I.M.P.).
His creation of I.M.P. permitted the school to meet this mandate by combining elements of both the physical and music education curriculums. And due to its efficacy at Mary Martin, many other school districts in Texas have incorporated it into their own curriculum. Moreover, its success has lead Mr. Ukena to be invited to present the constructs of it at the 2010 Texas Association for Health, Physical Education, Recreation and Dance Summer and Winter Conventions; the 2011 Texas Music Educators Association State Convention; the 2012 Winter State Conventions for the Oklahoma Association for Health, Physical Education, Recreation and Dance, the Louisiana Music Educators’ Association and the Louisiana Association for Health, Physical Education, Recreation and Dance.
When did you begin studying music?
I believe my interest in music started with my mother, Dorothy Ukena. There wasn’t an afternoon that she didn’t sit down to the piano and play show tunes from the 30’s, 40’s and 50’s, as best I can remember. My first grade teacher suggested to my mother I take piano lessons, though we couldn’t afford lessons at the time. I began formal piano study later in the 4th grade with Carol Courter from our church, St. Paul’s Lutheran, later transitioning into a music theory class with Carol and four or five of her other piano students. Looking back, I believe that class had a greater impact on me than I realized at the time.
When did you begin studying percussion?
In my early years, the majority of my musical studies were only on piano. I continued piano even when the opportunity to start in the band program arrived. Though I did bug my mother to play snare drum (percussion, primarily snare drum study at that time), when we attended the instrument drive at the high school, I was taken by the shiny saxophone. My mother did not back down. I had wanted drums for so long she wasn’t going to let me change my mind. With the piano background I had, mallet study in band class was no big deal. Because of my piano background, I did play bassoon during concert season in my eighth grade year. (Side story: a favorite song during this time was “Tears of a Clown.” It had a wonderful bassoon part I wanted to learn but never succeeded to perform.) My band director wanted me to continue on bassoon, but I chose to return to percussion. I did not have any formal studies in percussion study from sixth through twelfth grade other than being self-taught or learning from older students. I continued piano through tenth grade of high school, stopped a year, and then started back up again the spring semester of twelfth grade. I continued piano lessons into college until I demonstrated proficiency at the University of Oklahoma in 1977. Though my piano studies stopped I never stopped playing. Piano is basic to the study of all music as far as I’m concerned.
Who were your primary teachers?
I was introduced to the Valiant Knights Drum and Bugle Corp during my senior year of high school while participating in the Tri-State Music Festival. (I had participated in this festival through piano solos in all my early years receiving 1st division Superior rating in all years but one.) I was marching with the Enid High School Band with typical shows of the times,with lots of geometric designs, when I witnessed the Valiant Knights perform in exhibition. I had never heard a drum line play with such accuracy, the brass play with such volume and the color guard show off with flags and rifles.
My formal percussion study began with my opportunity to become a part of the program. Bob Costello, drum line instructor of the Valiant Knights, started me in rudimental snare drum (1975, private snare drum) before bringing in Chuck Reese to work the snare line of Valiant Knights; he had an incredible influence on me by having me put my drumsticks in positions to run down rudiments: grace note-1”, tap-8”, stroke-16”. At Phillips University, my percussion instructor was Eddie Lockhart, where I started with drum set studies; and his drum set ensembles for six drum sets were challenging. I also remember, with great pleasure, playing mallet transcriptions such as”‘Marriage of Figaro” as well as percussion ensemble works published at that time.
I then transferred to the University of Oklahoma, where I studied with Dr. Richard Gipson and marched with the “Pride of Oklahoma” Marching Band. I began four mallet studies with Dr. Gipson, and where my love for the marimba began. I only stayed a year at OU, but I learned more in that time than I had in my prior seven years of percussion studies. I transferred back to Phillips, mainly so I could march with the Valiant Knights. I returned to the University of Oklahoma to conduct my graduate studies. After only a year there I felt compelled to start a career in teaching. Though I was teaching in Texas, I took the time to study marimba with Dr. Robert Schietroma, timpani from Ron Fink, and drum set with Henry Okstell, at North Texas State University (now University of North Texas). I learned a great deal from all of them, though Dr. Richard Gipson had the biggest influence on my percussion studies, particularly with marimba.
What teachers impacted your musical growth the most?
The director of the Valiant Knights was also the percussion instructor. He was my first real percussion teacher. I made great strides in my rudimental technique through him. Chuck Reese was a later percussion instructor with the Valiant Knights that took me even further rudimentally. There are many things I learned from him that I use in my own teaching. Eddie Lockhart, my college Professor of Percussion at Phillips University, was the one person that really got me excited about percussion. Dr. Richard Gipson was my professor of percussion at the University of Oklahoma. He was the one that got me excited about marimba and I finished my graduate degree with him. I studied some timpani with Ron Fink and marimba with Robert Schietroma from the University of North Texas and appreciated their high expectations.
What percussionists have inspired you the most and why?
This may sound odd, but “Spike Jones and His City Slickers” have put a smile on my face for as long as I can remember. At one time, I was picking out cowbells, chimes, woodblocks, electrical conduit, etc. just so I could put together my own odd sound xylophone. It’s still one of my unfinished symphonies. I have fire bells, duck and goose calls, and Bombay horns that I collect for its goofy sounds. I have many of his old recordings that I first came across from a radio show called “Dr. Demento” (Ah, college days). Going further down that road, took me toward George Hamilton Green and his xylophone rags. I was first introduced to his music my sophomore year of college. Over the years I have worked at learning as many of his rags as I could. I always thought it was neat that rudiments and triplets showed up in some form or another in many of his solos.
In regard to rudimental snare drum solos, I admire Mitch Markovitch’s “Tornado” as well as Alan Abel’s “2040 Sortie.” But the one rudimental composer that I spent the most time learning was John S. Pratt. Even to this day, I write snare drum solos with some of his influence showing up all of the time. Interestingly enough, while in college I performed at the Tri-State Music Festival in Enid, Oklahoma, and in attendance was William F. Ludwig. After my performance he came up to me with a comment regarding my snare drum (I still had my beginning snare drum from 6th grade). He told me I needed gut snares and would send me some to use. A month later, six sets of gut snares showed up in the mail. It was a completely different sound than I had ever had. I still appreciate his gesture to this day.
I really didn’t spend much time with Clair Omar Musser marimba solos but his influence was still there. I enjoyed playing his marimba orchestra transcriptions in percussion ensemble. I found old pictures of marimba orchestras that had played at the Tri-State music Festival. One in particular had 100 marimbas together. On another level, I have admired the playing of Lee Howard Stevens. It is his four mallet technique that I studied (“Method for Movement”) and wanted to emulate. I don’t think I’ll ever get to his level, but I’m not in a position to spend 8 – 10 hours practicing every day.
From my high school days when I was playing vibraphone in jazz band, I was introduced to Gary Burton. Of course that had an impact on me and I wanted to play like him. I particularly like the vibraphone/marimba duet arrangement that led to “Double Image” with Dave Samuels and David Friedman. It’s just a great pairing!! They are the ones that put it together.
I admired many different drum set players, but unfortunately, I am horrible with names. I had the opportunity to see Buddy Rich in person from just a few feet away. Fast feet and fast hands. My feet could never do what his could do. Many others had some kind of influence but the one name I do remember is Ed Soph. The best thing he did for me was setting up drums. I’m paraphrasing, but in effect: sit at your drum throne, put your hi-hat and bass drum where you want them, then bring the rest of the drums and cymbals in close so you can reach and play both efficiently. This was huge for me and I continue to share it with my students.
When did you decide to pursue a career in music?
Interestingly enough, I enjoyed mathematics starting from seventh grade on. Though it was hard, and I didn’t always apply myself, I liked the sequential nature of learning: one skill or theorem led to another. I was happy with my progress and during my junior year of high school, I entertained the idea of becoming an aeronautical engineer. My aunt worked at an air force base and gave me the manuals for the training aircraft to study. They were way beyond me and I left them on the shelf. Still the idea of aircraft was exciting. I continued with higher mathematics into my senior year, while also taking music theory. It sounded like fun to me and my piano background was always there to help. I made it through the fall semester of mathematics while enjoying a lot of success with music theory, though the start of the spring semester of Math Analysis left me behind. At the same time, Dr. Eugene Ulrich, the music theory teacher from Phillips University, came to teach music theory at my high school. I enjoyed his teaching immensely and it was at that moment I dropped the Math Analysis Class and replaced it with Music Appreciation. I must give credit to my high school music teachers, Mrs. Martha Lee Griffin and Dr. Eugene Ulrich for my success in music theory. Their help and influence gave me the skills necessary to test out and gain credit for two semesters of Freshman Music Theory with a grade of an “A”. This is undoubtedly the moment I knew I would begin my serious studies of music. Now,come to think of it, that start of music theory from my beginning piano teacher, Carol Courter, suddenly seems more important.
Do you focus on a specific area of percussion?
Though I started at a small university (Phillips University in Enid, OK,) and enjoyed it immensely, I transferred to the University of Oklahoma my sophomore year where I was introduced to four mallet technique on the marimba – the same technique I now teach 7th and 8th grade students. Though I marched in the snare line for Valiant Knights Drum and Bugle Corp, I would say I focused on the marimba the most. I felt that my marimba technique was improved by the rudimental style I was playing. I can play drum set but I never felt I knew as much as I should. I should have put myself on the spot. I have played drum set in a number of pop groups since then (I really like a nice funky beat). Marimba was always my big focus though. My senior recital included a marimba concerto, and a 4-mallet arrangement of a Bach Suite in E minor for lute. There were six dances, but I only played four (It was published by Southern Music Company). I played a two mallet arrangement of Copeland’s Rodeo just because I wanted to have something fun and fast, and a duet arrangement I created of “Somewhere Over the Rainbow” for marimba and vibraphone. I think I played vibes on that one. I also wrote a percussion ensemble arrangement of “Rain Night House” by Joni Mitchell. I know I played vibraphone on that one. The only timpani piece I performed was one of Elliot Carter’s “Eight Pieces for Four Timpani”, which concluded my senior recital. My Masters’ recital included the Kurka concerto, all six dances of the Bach Suite, and “Two Movements for Mallets” by Tanaka. I also played “Duettino Concertante for Percussion and Flute” by Ingolf Dahl (man, that was a bear of a piece). I included one other piece from Carter’s “Eight Pieces for Four Timpani.”. Thinking back on all of this, now I can see I focused on mallets more than anything else.
What teaching positions have you held?
I was an assistant band director, teaching percussion in particular, for my first six years. I became a 5th and 6th grade music instructor after my daughter was born. When a new elementary school was built, Mary Martin Elementary, I became the music specialist. During all of this time I continued teaching percussion privately around the North Texas Area. From 2009 – 2011, I was an Adjunct Professor of Percussion at Texas Wesleyan University. The last three years before I retired in 2012, I was the front line percussion instructor for the Weatherford High School Band. I still teach percussion at area schools and I am the creator and consultant for Integrated Music & P.E.
What is Integrated Music & P.E. and what motivated you to create it?
Integrated Music & P.E. was in response to a Texas mandate for thirty minutes of daily physical activity in all public schools a number of years ago. I was the music director at Mary Martin Elementary School which had music and P.E. classes that were divided into 22 1/2 minutes for each class. My administrator, looking directly at me, said, “Here’s the requirement, how are you going to solve it?” Being a percussionist, it was nothing to pick up djembes or tubanos and play with the students. In fact, I spent much time teaching them how to play different percussion instruments, not just how to make noise. This gave me the idea to play different drum beats on a tubano, which signified different locomotor movements: marching, tip toeing, skipping, hopping, jumping, etc. Students would have to recognize which drum beat they were hearing by using the right loco-movement. I added a melody and words so students could sing along and know which drum beat was which. Later, the words were removed and the students would have only the drum beats to hear. They were able to show me what they heard by how they moved. It became “Marching Feet- Moderato.” A second version was created called “Marching Feet-Allegro.”
After recording myself singing and playing these versions, I could walk around and be available to help students (you can lose your voice and wear your hands out with eleven repetitions). I later added another component to “Marching Feet-Moderato” through the use of Part Work: melody, echo, descant, and ostinato; both sung and chanted at the same time. This became a daily routine for students in kindergarten through third grade. Fourth through sixth grade met only two days a week for music class. Two of the other days, they were in P.E. The fifth day was a combined: all of the students in a single grade level went into the gym for a game day with nearly 100 students in the gym. It was this combined day that the name, “Integrated Music & P.E.” was coined. As the students would go through their exercises, I saw an opportunity to use drum beats, songs and chants to exercise to: demonstrating pitch up and down, rhythm through claps stomps and pats, and part work through different exercises at the same time. Both Music and P.E. standards and expectations were being demonstrated and completed in an integrated fashion with many benefits.
Did you formally study composition?
I studied composition with Dr. Eugene Ulrich from Phillips University; as well as music theory and form and analysis. He was my go to person. I learned more from him than any other. I learned to appreciate Bach harmonies while at the same time being allowed to go into other areas. He was quirky, but would only accept your best. If you made any mistakes, you were expected to correct them. Learn from your mistakes in a classroom setting. Wow, new concept.
What motivated you to begin composing?
Arrangements where my starting point: from Mozart, Haydn or Mussorgsky. Then there were the transcriptions. I spent time listening and transcribing to the melodies and harmonies of Joni Mitchell (“Rainy Night House” is great as a percussion ensemble) and other popular music of the time. It took time to do, but I enjoyed it. These transcriptions were the crossword or Sudoku puzzles l liked to solve. It didn’t take long after that to create my own works. On mallets, it would start with practice: creating patterns that I played over and over to see how they sounded. I would come up with germ ideas and keep them handy until I had an idea of how I wanted to put them together. I use the same concept with other percussion instruments.
What composers of percussion do you identify with?
You know, it’s interesting, but the Pratt snare drum solos have had the biggest influence. I’m starting to notice how his hemiolas have shown up not just rhythmically, but melodically. The only other composer that I can say I identify with is Hovhaness. His “Fantasy on Japanese Woodprints” has given me the leeway to create my own scale patterns.
What usually motivates you to compose?
There are many times that I will stand behind the marimba and start noodling, not knowing where it will take me. Sometimes there is nothing memorable and I will stop and leave it be. Many times, though, some melodic phrase, or rhythmic pattern incorporating a playing skill I want to work on, catches my attention. At that point, I start playing it over and over until it becomes fun to play. Then I start thinking about how I can develop this idea. When I compose, I start with mallets in my hands, playing on the instrument. If I don’t like what I hear, how can I expect the performer to like it as well?
How would you describe your compositional approach?
My compositional approach, whether on marimba (mallets), snare drum, drum set, or multi- percussion, timpani or percussion ensemble, starts with free improvisation. I may have a technique in mind to begin with: like a rudiment on snare drum; or a particular movement for four mallets; or a particular style on drum set. I actually just start playing around until something catches my attention. Once I hear something that is interesting to listen to and fun to play, I start playing around with variations. Once I have some thematic material to work with, then I will put it down on paper. At one time I said that I didn’t want the art of music writing: pencil in hand, drawing notes on a page with good penmanship, to ever get lost, but now, I do appreciate the speed in which I can get notes down from a music writing program (I have Finale – It’s all I know). From there it’s a breeze to edit the structure and form of the music. I do still write music down; it takes longer though. Honestly, I know that I prefer composing a piece that is listenable and accessible to all. I would even categorize some of my music as schmaltzy. There are moments a musical joke may show up (Spike Jones is the influence here). Nevertheless, that is who I am. I hope in the end, that my compositions can connect with the listener and performer on some emotional level.
Do you commonly compose with a specific grade level in mind?
I do have an affinity for the beginning percussionist. Over the years I have taught numerous students, and most of the time I’m writing exercises and music specific to them. Many of them have stayed with me over the years, so my exercises and compositions increase with difficulty with them. In the past few years, I am pleased to see the improvement in writing for the beginning percussionist from other composers. I have seen incredible gains in technique in students in the past five to ten years as opposed to thirty to forty years ago. Music that was once considered college freshman or sophomore level are now played by students in the first years of high school. I appreciate this change. It has raised my own standards and expectations of myself and my students.
Does being a percussionist make it easier to compose for this instrument?
I find that it is essential that I am a percussionist. I do not attempt to write for any other instruments. Being a percussionist makes it easier, because if I’m writing a work for marimba, regardless of how many mallets, I’m considering how the notes are lying on the instrument and where the performer’s hands need to be. If I’m writing for drum set, timpani, or multi- percussion, I’m considering the sticking and coordination as well as how the notes lie on these instruments. And when I’m writing for snare drum, I do consider whether it is a concert or rudimental solo; though having great rudimental technique makes playing a concert solo easier. Therefore, each and every time I’m playing on the instrument that I’m writing for, I know what it feels like. Even if I’m writing for percussion ensemble, I will have played each part (This is why I love my Tascam multi-track recorder. It’s incredibly fun to record each part and mix them together. Time consuming? Oh, yes! But, I enjoy the process). And it bears repeating, but, it’s the idea that whatever I come up with, I would hope it’s enjoyable to the listener, and fun for the performer.
Has composing made you a better teacher and/or performer?
I know my compositions have made me a better teacher. Watching my students improve makes my day. Some have continued on and are educators themselves. I hadn’t thought about my composing making me a better performer. However, I have another viewpoint towards my music that I had not had before. Students will ask me why I want a composition played a certain way and I will have to explain and defend my reasons. And for that reason, when it comes to my own performances I’m putting more into my playing than I originally started with. I do have some marimba compositions in the works that deal specifically with my own technical improvement. But these are rare. I’m spending more time with my students. That is my passion. And again, I repeat, whatever I compose, I would hope it’s enjoyable to the listener, and fun for the performer.
What inspired you to create Ukena Music?
Having had a number of my compositions published by Southern Music Company, and being that many of these compositions were added to prescribed music lists in various states, I began receiving many calls and emails with questions. It became necessary to come up with a central location that others could find out about these compositions; errata, playing suggestions, what were my thoughts when I wrote these compositions, etc. Later it became a website to offer new compositions and books written not just for percussion students, but also elementary music educators and specialists. My most recent additions to the Ukena Music catalogue are: “The Gorilla in the Room”, a collection of 15 two and four mallet marimba solos for the beginning and intermediate student, “Scattin’ The Swing” (a two mallet marimba solo), “The Many Faces of Crystal Falls” (a four mallet vibraphone solo), and “Almost 4O ‘RUDIMENTS’ For Mallets” (PAS International Rudiments written out melodically for mallet instruments).
How do you feel when one performs your work differently than you envisioned?
Now with YouTube I have an idea of how my compositions are being performed. It is difficult to hear a piece I’ve written performed differently than I expected. It’s like raising children. You guide them as they’re growing up, teaching them along the way, and then let them go on their own hoping it turns out, but, different things happen than you expect. If I’m given the chance to work with students on my music, I do give them my suggestions, knowing, in the end, it is still their performance. I have to learn to let it go and appreciate what they put into it.
What would you like other performers and teachers to know about your compositions?
I admit there are techniques and skill sets written into my music. Therefore, if the performer has not yet developed these skills, they will improve by learning my compositions. They may not know they are developing these skills, because they are having fun with the music. I have learned this due to the few chances I have had speaking with performers and teachers about my music: they enjoy listening to it as much as playing it. This has been my guiding principle in composing: it must be fun for the performer, and enjoyable to the audience.
If you would like to learn more about, and/or contact Mr. Ukena, please visit his website at: ukenamusic.com