A consultant for the Zildjian, Vic Firth, and Balter Mallet companies, Keith A. Aleo is also the Director of Percussion at the Interlochen Center for the Arts, which encompasses the Arts Camp, Percussion Institute, Adult Band Camp, and the Interlochen Arts Academy. His other teaching credits include the Boston Conservatory, The University of Rhode Island, the University of Connecticut, and the University of Miami. Moreover, Mr. Aleo’s publications include Complimentary Percussion, Music for Multiple Metals, Advanced Etudes for Snare Drum, and he was a contributing editor for the Encyclopedia of Percussion Instruments, published by Garland Publishing. His playing credits include the Chicago Symphony Orchestra, the Metropolitan Opera Orchestra, the London Symphony Orchestra, and as a member of the percussion section of the Florida Philharmonic Orchestra from 1989-2003.
Mr. Aleo served as a member of the Percussive Arts Society’s Board of Directors, and on the Board of Overseers at the
New England Conservatory of Music. Mr. Aleo is also the recipient of the Percussive Arts Society’s Chapter President of the Year Award for his work in Florida. And has been invited to present master classes and workshops at such prestigious events and institutions as: the Percussive Arts Society International Convention; PAS Journees de la Percussion in Paris France; the Paris Conservatory; the PAS Italian Percussion Festival in Fermo Italy; the Shanghai Conservatory; Tainan National University of the Arts; and multiple music educator conferences.
When did you begin studying music?
My father was an opera singer and my mother a classical ballet dancer. So, I had music and the arts around me all the time. My father would take me through opera scores before I could even read music. He also taught me to sing when I was about nine. My mother also taught me how to dance, but I was not very good! I formally began studying music and percussion when I was in middle school.
What made you choose percussion?
I’m not really sure, but I was drawn to rhythm, and also I enjoyed the many instruments percussionists play. I was simply attracted to the diversity of instruments and the rhythm.
Who were your primary teachers?
I feel like I have had “teachers” in my life, and “influencers” in my life. Both made a tremendous impact on me and my growth as a percussionist. Teachers are those I spent a longer time with, and who shaped my concepts, technique, and musical growth. These were Brad Spinney, John Alfieri, and John Beck. For me, influencers are people that I spent a short time with, who challenged me, and made me think more about what I was doing. These were Cloyd Duff, and Chris Lamb. I am very fortunate to have had time with these tremendous people, and I am forever grateful for their patience, and the gifts that they gave me.
When did you decide to pursue a career in music?
For me, it was a very specific moment in time. I was in high school, 11th grade, and I had just played a concert with the World Youth Symphony Orchestra at the Interlochen Arts Camp (at that time it was called the National Music Camp) in the summer of 1980. I was standing just outside of the large outdoor theater: Kresge Auditorium, and I looked out over the lake and said to myself “this is what I want to do for the rest of my life, play percussion.” I felt some force come over me: a gentle resolve; it was a powerful moment, and I visit that spot often to reflect. From that moment on, I have never looked back.
Did you have a specific goal?
I love to teach, and my current goal is to help students achieve their dreams and aspirations in life through percussion.
Do you focus on a specific area of percussion?
I really don’t have a specific area I focus on, other than my roots, which was in orchestral/concert percussion. Since about 2010, I’ve been very excited and enthusiastic about new music and commissioning new works.
Who impacted your musical growth the most?
I wouldn’t say it was any one person that impacted me the most. As a student, it was the institutions I went to, and the teachers at those institutions. That was the Interlochen Center for the Arts, where I studied with John Alfieri, and Scott Stevens; the Eastman School of Music with John Beck; and the University of Miami with Fred Wickstrom. These places, and people, impacted my musical growth tremendously. In my later student years, and in my professional life, the work I did with Cloyd Duff, and Chris Lamb also had a tremendous impact on me.
What teaching positions have you held?
I’ve had many teaching positions, almost too many to list. But, the main positions I’ve held were with the University of Miami, Florida International University, Boston Conservatory, University of Connecticut, The University of Rhode Island, and where I teach now: the Interlochen Arts Academy, and the Interlochen Arts Camp.
Is there a specific genre you enjoy performing the most?
Classical. As I mentioned earlier in this interview, my roots as a child go back to my mother, a ballet dancer, and father, who was an opera singer. I always had classical music in my house as a child.
What composers do you identify with?
I absolutely love Stravinsky and Beethoven for their innovative use of timpani and percussion. Both were groundbreaking in my opinion. For opera, Puccini and Verdi, again due to my roots as a kid. With new music, I gravitate toward Stockhausen, Pauline Oliveros, Ginastera, John Cage, Boulez, and of course, my favorite, Steve Reich. I am also a huge lover of Bach.
Do you ever make a mistake while performing?
Yes, all the time. We are human and mistakes are part of performing. I often wonder, why do we as musicians continue to perform if mistakes are inevitable, even the smallest? It’s frustrating. But for me, the answer lies in the word passion. We always strive for perfection, but what is most important is that we convey passion through our performance. It is the passion that the audience will be touched by, and remember.
Has your practice regimen changed from when you were a student?
I have to always keep my basics in place and do stick control every day. Wilcoxon, scales, tuning, etc. All this has to happen everyday. As a student I spent a lot of time on the basics and that just makes pieces easier to learn. I was lucky as I was taught that from the start – basics! If you have good time, rhythm, technique, touch, dynamic control, you can learn pieces much faster, and you are more comfortable behind the instrument. Many students just want to learn pieces, Delecluse 9 is a good example. But, the best way to learn Delecluse 9 is to work on rolls, soft playing, dynamic shifts, etc. Oftentimes I find myself saying, “stop practicing the piece, practice the basics, and the piece will come.”
How do you define a good musician and a good teacher?
I define a good musician as someone who touches their audience on multiple levels. I’m not moved by fast playing or technical virtuosity. I’m impressed by it, but it doesn’t resonate with me and how I feel. A good teacher is someone that can motivate students and get them to be enthusiastic about percussion. The best student is one that is excited about learning and practicing! That excitement and enthusiasm often comes from the teacher.
Do you think that performing and teaching are intrinsically intertwined?
Yes, I do. However, I have witnessed amazing players that struggled to teach; and those that do often just play to motivate, and stimulate students to want to learn. I’ve also witnessed mediocre players be amazing teachers. They are linked in that you have to demonstrate to a student what you are talking about.
Has teaching made you a better musician?
YES! Very much so. Some of my playing is via musical instinct – basically, how it feels to me. Teaching helped me to understand what I was doing and define why I was doing it. Teaching has helped me to better understand myself.
What motivates you to compose?
I compose to fill a gap that I see in our current percussion repertoire or method books. This was especially true with my book, Complimentary Percussion.
Knowing what you know today, would you change how you prepared for your career?
Although I made many good decisions as I was developing my career, I do wish I had done a few things differently. One, I wish I would have done better in my academics and taken them more seriously as a student. I had no idea how much I would be writing in my career and how much administration is involved in being a musician. And two, I wish I would have taken more time to practice when I had the time when I was younger; as your career develops and you have a family, time to practice becomes more difficult to find.
What words of wisdom would you like to share with a students?
Cherish each day as every day is a gift. Stay positive, see the best in everyone around you, and always stay on good terms with the people you work with.
If you would like to learn more about Mr. Aleo, please visit his website at: keithaleo.com
