A proud endorser of the Avedis Zildjian Company, Grover Pro Percussion, Remo Inc., and Yamaha Corporation, John Tafoya is a Professor of Music in Percussion at the Indiana University Jacobs School of Music, and served as Chair of its Percussion Department from 2008 – 2021. He has served on the music department faculties at the University of Evansville, Florida International University, and University of Maryland. Professor Tafoya has presented numerous master classes and clinics at universities across the United States and Canada; was a featured clinician at the Percussive Arts Society International Convention (PASIC) in 2002, 2007, 2011, and 2018; and is the author of two orchestral timpani repertoire books: The Working Timpanist’s Survival Guide (2004), published by Carl Fischer, and Beyond the Audition Screen (2011), distributed by Hal Leonard.
Professor Tafoya has worked under many prestigious conductors, including Marin Alsop, Vladimir Ashkenazy, James Conlon, Jiri Belohlavek, Rafael Fruhbeck de Burgos, Christoph von Dohnanyi,
Valery Gergiev, Christopher Hogwood, Lorin Maazel, Mstislav Rostropovich, Leonard Slatkin, Osmo Vanska, John Williams, Hugh Wolff, and David Zinman. And from 1999 – 2007 he served as Principal Timpanist of the National Symphony Orchestra, and has held previous principal timpani positions with the American Wind Symphony, National Repertory Orchestra, Owensboro Symphony (Ky.), Evansville Philharmonic Orchestra (Ind.), and Florida Philharmonic Orchestra. He has also performed with the Indianapolis Symphony Orchestra, St. Louis Symphony Orchestra, Baltimore Symphony Orchestra, and the Detroit Symphony Orchestra.
As recording artist, Professor Tafoya performed on the award-winning recording of Mahler’s Symphony No. 1 with the Florida Philharmonic Orchestra under the direction of James Judd, and on orchestral recordings with the St. Louis Symphony Orchestra, the Detroit Symphony, and the National Symphony Orchestra under the direction of Leonard Slatkin. He can also be heard on the American Wind Symphony Orchestra’s CD Concertos All and Sundry performing Kaoru Wada’s Concertante for Timpani, Percussion, and Winds under the direction of Robert Austin Boudreau; the 1987 Summit Brass CD All American Brass on the Pro Arte label; and the 1992 Arkay CD William Albright: Music for Organ and Harpsichord, featuring organist Douglas Reed.
When did you begin studying music?
I am a product of the public school music program (as it existed in the 1970s/80s). I lived in Minnesota at the time, and back then you could choose to learn a string instrument in the 4th grade, and a band instrument in the 5th grade. My parents were both musicians (my mother was a pianist, and my father a trombonist who started out as a high school band director). Music was always playing in the house and many young piano students came to the house for lessons. I think I heard Benjamin Britten’s “Young Person’s Guide to the Orchestra” about 10,000 times! Between my mother’s piano lessons, my dad playing trombone, my younger sister also playing the violin, and then – of course with me playing violin and percussion – the house often sounded like a small music conservatory.
What made you choose percussion?
I still remember Mr. Holt demonstrating the violin when I was in the 4th grade and was immediately drawn to that instrument. Since both of my parents were in the music business I assumed that they would be pleased when I got home and announced my interest in the violin. Their reaction was not what I expected. “You realize you’re making a serious commitment!” Again, I was only in the 4th grade. Fortunately, my parents knew how valuable a good teacher was – so I had very good instruction from the very beginning. Of course, when 5th grade hit I thought it would also be great to add percussion to my musical plate. I continued playing both violin and percussion all the way up to going to the IU Jacobs School of Music. I started my freshman year as a violin performance major at IU. At that time, I also met with Professor George Gaber (who also had a violin background). He was able to give me some nice percussion opportunities (while still being a violin major); performing in the percussion ensemble, and at one point, I was a timpanist in one of the bands, and a violinist in one of the orchestras. I eventually gave up the violin at the end of my sophomore year at IU. Later on, I still played a little violin from time to time. When I was with the National Symphony Orchestra, I would borrow an instrument (when we were performing outdoor concerts and I knew they weren’t using their “best” instruments) – and I would play and wait to see the shocked look I got from everyone. However, I haven’t played the instrument (for fun or shock value) for the past 13 – 14 years. In high school, I also had an interest in conducting – and conducted my high school orchestra and band on at least one occasion. My conducting teacher, Gerhardt Zimmermann, became the music director of the Canton (OH) Symphony Orchestra, so believe it or not, I auditioned for the Canton Symphony on violin and was awarded a contract. I drove from Bloomington, Indiana to Canton, Ohio to play with that orchestra and take conducting lessons while I was there.
Who were your primary teachers?
My first “drum teacher” was Jack Moore. He was the Principal Timpanist with the Minnesota Orchestra at that time. When I was in the 7th grade we moved to St. Louis, and I studied with Richard O’Donnell, who was the Principal Percussionist with the Saint Louis Symphony Orchestra (SLSO) back then – and later on I studied with Tom Stubbs. I remember going to a SLSO concert and I was mesmerized by the Principal Timpanist, Rick Holmes. I just could not take my eyes off of him. His hands looked like they were doing a finely crafted ballet on top of the heads, and I was quick to notice and admire his overall presence on stage. Rick is no longer with us, but fortunately I was able to tell him in person the real lasting impact that he had on me. At IU, Professor Gaber took me in as a percussion major and I studied with him for at least two years. When Gerald Carlyss joined the IU Jacobs School of Music, as I was starting my graduate degree, I felt like I was working with him at just the right time – since I wanted to be a professional timpanist.
When did you decide to pursue a career in music?
Quite early on, I think. Certainly, by the time I was a junior in high school I was planning to major in music – but again, at that time, I was juggling both violin and percussion. My parents had me convinced that majoring in violin made more sense. “How many violinists are there in a professional orchestra?” vs. “How many timpanists are there in a professional orchestra?” After switching to percussion at IU, I knew I had made the right choice. My parents, on the other hand, were not so sure. However, when I was in my early 20s I had the opportunity to take a timpani audition for the Houston Symphony Orchestra. It was my very first professional audition, and I was lucky enough to get into the final round. So, at that point, my parents probably thought “Well, the kid must know what he’s doing.”
Did you have a specific goal: teach, compose, etc.?
I think my initial goal was to play timpani in an orchestra. Any orchestra. I was fortunate enough to have a teaching assistantship while I was a graduate student at IU, and I did find myself enjoying teaching as well. All of those piano lessons that my mother taught at home also must have left a positive impression. My first job was in Evansville, Indiana – performing as the Principal Timpanist with the Evansville Philharmonic Orchestra, and the Owensboro Symphony Orchestra. Teaching at the University of Evansville was also included in this consortium arrangement, and for the most part, I have always tried to pair up teaching with performing. During my recent sabbatical (January – May, 2022), I did experiment with composing a handful of short timpani solos/etudes. I certainly don’t think of myself as a composer, but it was quite enjoyable coming up with little musical ideas and seeing where I could go with it.
Reflecting over my playing and teaching career, I feel very lucky! I’ve performed with internationally renowned soloists and conductors and have played in distinguished concert venues (Concertgebouw, Berlin Philharmonic Hall, Carnegie Hall, etc.). I’ve also had the great fortune to work with incredibly talented young musicians through the years, and many of them have wonderful performing and teaching careers.
Have you always focused your attention on timpani, or have you sought out opportunities performing other percussion instruments?
Although the timpani were certainly my main area of focus, I did play other percussion instruments, and I took several orchestral percussion and percussion/assistant timpani auditions while in school. If I couldn’t play timpani in an orchestra, I would definitely be the cymbal player. A great timpani player, and a great cymbal player can really improve the overall sound of the orchestra. I also really enjoy playing the vibraphone.
Who impacted your musical growth the most?
I think it was a combination of my terrific teachers and mentors: Jack Moore, Rick Holmes, Rich O’Donnell, Tom Stubbs, George Gaber, and Gerald Carlyss; along with having great experiences performing in the bands and orchestras at IU during my college student years.
What teaching positions have you held?
I served as an Adjunct Professor at the University of Evansville, Florida International University, the University of Maryland (then eventually 1/2 time position), and currently I am at the Indiana University Jacobs School of Music as a Full Professor.
What percussionists have inspired you the most and why?
I am inspired by anyone I have had the good fortune to share the stage with.
Is there a specific genre you enjoy performing the most?
I listen to all types/styles of music – from Radiohead to Rachmaninoff. I guess my favorite orchestral genre would probably be the late romantic era.
What composers do you identify with and why?
I do enjoy performing works by Barber, Bernstein, Debussy, Dvorak, Janacek, Mahler, Ravel, Tchaikovsky, and Stravinsky. Not just great timpani parts – but great music! Listening to works by these composers always takes me to an interesting, exciting, and imaginative place.
Do you get nervous before you play – if so, how do you deal with it?
I almost always get nervous when I perform. I’ve found that I usually feel nervous before playing – not usually while I’m playing. I think most of us get nervous if we know we’re not thoroughly prepared, so I usually try to over-prepare. We also get nervous because we really care about the outcome. Sometimes this means putting your performance in the correct perspective and acknowledging that sometimes mistakes happen, and yet the sun will still come up the next morning.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Malcolm Gladwell has stated: “The key to achieving true expertise in any skill is simply a matter of practicing for at least 10,000 hours.” I’m not sure that this is correct (and other experts have confirmed that more than 10,000 hours is actually required). In my mind, success requires at least 10,000 mistakes! And I am probably at 9,999 mistakes and counting! Now, with that said, in any given orchestral season, my goal is to make less than five mistakes each season – and the only way to get to that point is to be thoroughly prepared (certainly knowing your part but also everyone else’s part). A great timpanist can conduct an entire orchestra with only their timpani part (with many markings and cues, etc.).
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
You have tons of time to practice when you are at college. Your time is your most valuable asset! So use it well. If you become a successful orchestral musician in the U.S., chances are you will earn $300 – $500 an hour during your college practice sessions. You just didn’t know it at the time.
When you graduate, the available time to practice is extremely valuable. It gets more “real.” As I worked as a professional musician, my available practice time diminished, and I found ways to find the right amount of focus, and to use my practice time in the most efficient way possible; practicing more mentally than physically. Fortunately, day-to-day lessons allow me to keep my playing and technique in shape.
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?
A good musician is someone who wishes to serve the music they perform in the best possible way, and will be passionate about their music-making. A good teacher has a wealth of musical and life experience, and is willing to share all of them with his/her students. A good teacher should also find the best way to communicate with his/her students and to be available (in addition to the regular lesson time, for help and support when needed). I don’t think this definition has changed much from when I was a student; maybe because I was so lucky to study with fantastic musicians/teachers when I first began taking lessons.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
Not necessarily, because there are many professional musicians that choose to only perform and are not interested in teaching at all. For many years, I enjoyed juggling both teaching and playing. I think there are many advantages to doing both. For me, it provided for a nice variety of musical activities, and served as a nice way to balance my musical interests.
Has teaching made you a better musician, if so how and why?
Yes, I believe so. You have to be able to successfully review and critique your own playing before feeling comfortable analyzing someone else’s performance. It also means you are talking and thinking about music a bit more throughout the day – which I think keeps your music-making fresh. If you are ever in a position to publish a book you have to be incredibly concise with your thoughts and ideas. I found that this process really improved my teaching, and especially how I communicate as a teacher.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
If I could go back in time I would probably try to work on being more effective in how I used my practice time. As a young musician (college, etc.), your available practice time is incredibly valuable. As a college student, I could have networked more (vs. spending 99% of my time in a practice room). Networking today is especially important because many musicians now must also be entrepreneurs.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
If music (performing/teaching) is the only thing you see yourself doing, then that’s what you will be doing – eventually. It could take you five years or 25 years to experience some level of success, but if you’re passionate about it, you must not settle for anything other than the career you wish to have.
Please also know that you will fail more than you will succeed. These failures will only be true failures if you don’t learn anything from them. When I think about all of the negative situations that happened to me early in my career, I am so thankful that they occurred. I was able to learn from my mistakes and work toward being a better musician and teacher.
If you would like to learn more about Professor Tafoya, please visit his website johntafoya.com
