Dr. Douglas Walter

Internationally renowned marimba and vibraphone artist, Dr. Douglas Walter, was the first percussionist to win the Concert Artists Guild Competition in New York City, and has performed over 300 solo recitals and concerti in North America, South America, and Europe. He currently serves as the Director of Percussion at the University of Colorado Boulder (UCB) where he teaches private lessons, and directs a percussion ensemble. Prior to his appointment at UCB, he served on the faculties at the Oberlin Conservatory of Music, the University of Montana, the University of Oregon, the University of Michigan, Indiana State University, Colorado Christian University, and has been a guest lecturer at nine French conservatories. Dr. Walter is also the author of the critically acclaimed book, No Left Hand Behind which is published by VAP Media.

Dr. Walter was a double major in music education and music theory, graduating summa cum laude with his Bachelor’s Degree from the University of North Texas. He performed the same task at UCB, again graduating summa cum laude with his Bachelor’s Degree in French Literature and Western Civilization. It was at the University of Michigan that he earned two Master’s Degrees in Orchestral Conducting, and Percussion; and at Temple University where he earned a Doctor of Musical Arts Degree while studying with Alan Able and Dave Samuels.  

As an orchestral musician, Dr. Walter has performed for decades with notable ensembles such as the Colorado Ballet (560 Nutcrackers and counting) and the symphonic orchestras of Dallas, Fort Worth, Oregon, Salem, Philadelphia, Terre Haute, and Boulder, to name but a few. In summers, he has performed with the Santa Fe Opera Orchestra, and the Grand Tetons, Colorado, and Sunriver Music Festival Orchestras. And for 30 years he has toured with the Westminster Brass, playing symphonic-style concerts, church services, and Bible conferences. As a jazz artist, Dr. Walter performed on the Grammy Nominated LAB 75, with the North Texas State University’s 1:00 Lab Band; and has performed with the Keystick Duo, the Modest Jazz Trio, the Casey-Walter Duo, Rim of The Well, and Jazz Asylum (which is the UCB faculty jazz quintet). 

When did you begin studying music?

I started by singing in the Westminster Presbyterian Church youth choir at the age of seven (and sang in that balcony each week for five years). I had one year of piano study at age eight, and I  started snare drum lessons with Bill Delelles at the age of 11.

What made you choose percussion?

It was due to my big brother Bob, who played percussion, organized a percussion ensemble, and was also my teacher.

Who were your primary teachers?

I studied with William Delelles, Dominic Deluca, Ron Fink, Kalman Cherry, Thom Maguire, Charles Owen, Alan Abel, and David Samuels.

When did you decide to pursue a career in music?

When I attended North Texas State University for my Bachelor’s Degree.

Did you have a specific goal: teach, compose, etc.?

I wanted to both perform and teach (I had already been teaching private lessons since age 14). My specific goals as an undergrad were to teach, be a studio musician, play with, or conduct orchestras, and play jazz.

Do you focus on a specific area of percussion, if so, did you always?

The areas I am most known for are: marimba and vibraphone in both genres of Classical and Jazz. I was the first mallet player to win the Concert Artists Guild Award Competition, (NYC’s oldest & most prestigious music contest); and I have performed as a solo recitalist, as well as a concerto soloist at five PASICs, conservatories in 11 countries, and over 200 other venues; and I appeared on five CDs which feature my marimba and vibes playing. I am also the only person to earn a Doctor of Musical Arts Degree under the tutelage of the legendary, Alan Abel.

Who impacted your musical growth the most?

Anshel Brusilow, the Concertmaster of the Philadelphia Orchestra, and conductor of the North Texas University Orchestra. He was my mentor for three years, and handed me my first career opportunity as an orchestra conductor. He was an exquisite musician who inspired my phrasing and interpretation. He and Alan Abel gave me more than I can ever thank them adequately for. The musician I have studied the most is Jazz Pianist, Bill Evans; I even did an independent study course just on his music for my DMA.

What teaching positions have you held?

Since 1990 I have been a Professor at the University of Colorado at Boulder, where I teach applied lessons, graduate percussion literature, direct percussion ensembles, direct the percussion program, play in the faculty jazz combo, and teach jazz history in the summer. From 1984 – 1990, I was an Associate Professor at Indiana State University where I taught lessons, percussion methods class, directed the percussion ensemble, and coordinated the strings and percussion area.  From 1979 – 1982 I was a Visiting Assistant Professor at Lewis and Clark College where I directed the wind, jazz, and percussion ensembles, the jazz combo and symphony orchestra, and taught lessons and conducting. In 1981 I was a Visiting Associate Professor at the University of Oregon (sabbatical replacement) where I taught lessons and directed the percussion ensemble. In 1979 I was an Instructor of Percussion at the University of Montana (sabbatical replacement) where I taught lessons and percussion methods class, as well as conducted the musical (The King and I). And in 1978 I was an Instructor of Percussion at Oberlin Conservatory of Music (sabbatical replacement) where I taught lessons, percussion composition class, and directed the percussion ensemble.

What percussionists have inspired you the most and why?

Alan Abel, Gary Burton, David Samuels, Buddy Rich, Kal Cherry, Charles Owen, Bill Delelles, Sal Rabbio, Dave Garibaldi, Brian Del Signore, Don Liuzzi, Andrew Reamer, Dan Armstrong, Chris Hanning–and MANY others.They are all superb musicians with individual voices that speak to me.

Is there a specific genre you enjoy performing the most?

Marimba and vibraphone – classical or jazz, and timpani with an orchestra.

Do you get nervous before you play – if so, how do you deal with it?

I get distracted when something goes wrong while I am playing, either in my own mind or the music that others are sharing with me. I try to get back to concentrating on what I am supposed to do next. I focus on the task at hand to get back on track.

Do you ever make a mistake while performing?  If so, how do you go about resolving it?

If it’s jazz, I try to harmonically fix it. If it’s classical, I just go on. The past is over; it’s time to move on to the next phrase.

Has your practice regimen changed from when you were a student?  And how do you keep your technique fresh on all primary percussion instruments?

My practice techniques have developed over decades. The best way to see much of my current thinking is to read my book No Left Hand Behind, which includes lots of ideas on practicing and phrasing. I still practice basics daily: rudiments and fundamental exercises like those in my book.

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?  

An artistically accomplished musician knows the score, the style, the culture, the audience, instrumental or vocal technique(s), musical analysis, etc. – everything that contributes to a confident, expressive, faithful, and enjoyable performance. A superbly artistic musician also has something personal to share through a long-term devotion to personal musical exploration, learning, and finding.

A good teacher has extensive experience in the field, success as a performer, good conversational and interaction skills, and above all, a great love of learning and teaching (which are two sides of the same activity). Teachers are interested in everything, but especially in the growth of students, because no one cares how much you know until they know how much you care. My position from a student till now has not changed much – I had great love for the arts and good teachers from the beginning.

Do you think that performing and teaching are intrinsically intertwined?  If so, how and why? 

Each of us is our best teacher, at least in the sense that we are by far our most frequent teacher. If we learn to control our thoughts and perform well with discipline and authenticity, we will then have more to offer as a teacher. Performing always involves learning, which is why we learn so much from touring. There’s no better teacher than performing the same music but in different acoustics, audience situations, travel circumstances, etc. Flexibility and perseverance are key to success, and touring teaches those skills to performers.

Has teaching made you a better musician, if so how and why?

Oh yes. We learn so much from our students. They teach adaptation, mutual understanding, how to ask and answer questions, problem-solving, and the appreciation of individual gifts; all of which are essential skills for good chamber music – as well as respect for the composer’s intentions and dynamic interpretation.

Knowing what you know today, would you change anything about how you prepared for your career?  If so, what and why?

I’d change nothing. I have received exquisite gifts from many people; their generous blessings are priceless and irreplaceable.

What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?

Learn to read music and people well and quickly. Good sight-readers with flexible personal interactivity develop a network of artistic and professional skills, which leads to friends that afford countless opportunities for growth.