Since childhood, Beth Gottlieb has been fascinated with percussion due to the multitude of instruments one can perform. Unfortunately, her parents disapproved because they viewed percussion as being unfeminine. In turn, she began her musical studies on the piano, violin and clarinet. But because of her persistence, her parents relented, and she was permitted to study percussion in the 7th grade. Her talent and dedication eventually led to Ms. Gottlieb being awarded a full scholarship to study with Larry Mathis at the University of Alabama. Upon completing her Bachelor of Music degree in Percussion Performance at Alabama, she attended the Eastman School of Music. There she studied with Percussive Arts Society Hall of Famer, John Beck and obtained her Master of Music degree in Percussion Performance and Literature.
Ms. Gottlieb has performed with numerous orchestras throughout the south and is the Principal Percussionist of the Walt Disney World Candlelight 
Orchestra. In addition, she has extensively performed and/or recorded for the Disney Company, and with such artists as: Andy Williams, Henry Mancini, Peabo Bryson, Celine Dion, Sammy Davis Jr., Steve Lawrence and Eydie Gorme, Natalie Cole, Shirley Jones, Sandi Patty, Roger Williams, Carol Channing, Kansas, Milton Berle, Henny Youngman, Bobby McFerrin, Chick Corea, Victor Wooten, Muriel Anderson, Johnny Mathis, Steven Curtis Chapman, Gil Evans Orchestra, Eddy Arnold, Donny Osmond, Pat Boone, Petula Clark, Chuck Owen’s Jazz Surge, Jeff Berlin, Lennon Sisters, Mitzi Gaynor, Rita Moreno, Marvin Hamlisch, Tony Bennett, Kansas, Bobby McFerrin, The Irish Tenors, Regis Philbin, Pat Coil and Randy Brecker.
She has also performed concerts and clinics world wide with her husband, and renown drummer, Danny Gottlieb. Either as part of the “Gottlieb Duo”, or in their educational program for children: “The Rhythms of Music and Life.” Furthermore, they are members of the Lt. Dan Band (founded by acclaimed actor Gary Sinise); proudly performing concerts for the USO in Afghanistan, North and South Korea, Japan, Europe, Canada, Guantanamo Bay, the Pentagon and throughout the United States. Moreover, Ms. Gottlieb was a part of the Memorial Day television performance and movie: “Lt. Dan Band, For the Common Good.”
Active in the field of music education, Ms. Gottlieb was an officer of the Percussive Arts Society, National Association for Music Education, Music Teachers National Association, and the Florida Bandmasters Association. In addition she hosted the 1998 Percussive Arts Society’s International Convention in Orlando and presided over the percussion studios at the University of Alabama (Tuscaloosa, AL), Rollins College (Winter Park, FL) and the Interlochen Arts Camp, (Interlochen, MI).
Lastly, Ms. Gottlieb is a clinician and endorser for Ludwig/Musser Percussion, Zildjian Cymbals, Innovative Percussion, Grover Pro Percussion, Offworld Percussion and the Remo Corporation. And currently she resides in Nashville, Tennessee, where she serves on the executive board of the Nashville Musician’s Association and is active in Nashville’s studio and live music scene.
When did you begin studying music?
I played piano, violin and clarinet as a kid but I always wanted to play percussion because you got to play many instruments. My parents didn’t want me to because they said, “drums were not for girls!” Well, I proved them wrong – Ha Ha!! I began studying percussion in 7th grade but I didn’t study percussion officially until college.
What inspired you to pursue a degree in percussion?
I just loved music and I got a full scholarship to the University of Alabama.
Who were your primary teachers?
Larry Mathis at Alabama and John Beck at Eastman; later on, I studied with Joe Morello privately.
What teachers impacted your musical growth the most?
It has been John Beck and Joe Morello.
How did John Beck and Joe Morello impact your musical growth the most?
JB always made us think for ourselves. He didn’t “baby feed” anything and that really helped me in the real world. Joe Morello was just awesome in every way. He could take any rhythm and change the sticking and put it anywhere and he made you think outside the box. He was a genius!
When did you decide to pursue a career in music?
While I was an undergrad student at Alabama. I had no idea what I was getting into and I have been really lucky to have a long performing career in a multitude of percussion areas.
Do you focus on a specific area of percussion?
No, I always liked it all: from performing in drums corps, orchestral playing, jazz, rock, etc.
What percussionists have inspired you the most and why?
Bob Becker, in every way, for his brilliance on the xylophone; vibraphonists: Gary Burton, for how he changed performing this instrument, and Milt Jackson for his groove; John Beck for his touch on the timpani; and Danny Gottlieb, whom I consider to be the most musical drummer out there!
What teaching positions have you held?
I have taught at the University of Alabama, Rollins College, Interlochen Arts Camp, Wooten Woods Nature and Music Camp, Penny’s Camp and Interplay Jazz Camp. Also, my husband (Danny Gottlieb) and I have done hundreds of clinics and workshops all around the world.
What composer(s) of percussion do you identify with?
I love Maslanka, Ewazen, and in general, composers who create compositions with good melodies.
Have you formally studied composition/arranging?
Not really. My only training has come from music theory classes and an arranging class I had in college.
What motivated you to begin composing and arranging?
I do not consider myself a composer, but more of an arranger. I began arranging to develop works for the groups I taught.
How do you go about choosing a work to arrange?
I must simply like the work: it has to mean something to me. I also choose a work with a specific grade level in mind.
Does being a percussionist make it easier to arrange for this instrument?
Yes, because I know what these instruments can and can’t do and what they sound like.
What inspired you to develop Masterworks for Mallets?
I wanted to write a book full of great melodies to help mallet players with phrasing and musicianship.
Is Masterworks for Mallets intended to be a pedagogical tool, if so, how did you envision it be incorporated into a student’s study?
Yes and no, it’s all about great music that was not originally written for mallets. All of the arrangements are where written for a xylophone; this was done on purpose for those who don’t own a marimba..
How do you feel when one performs your work differently than you envisioned?
I have no problem with it; people are allowed to take liberties with any kind of music.
What would you like other performers and teachers to know about your arrangements?
They are from great compositions, I didn’t compose them, great composers did, I only arranged their music for our instruments. The most important aspect of playing these works is to become a great musician by learning to phrase and play musically, and not sound like a “drummer” hitting notes. Therefore one should strive to sound like a singer, violinist, cellist, etc., and breath, connect rolls, change roll speeds, play smooth, and treat these pieces as musically as one can.
