Bobby Previte has led workshops at The Eastman School of Music, The New School, Cornish University, The School of Jazz, Perth, Australia, The University of Buffalo, Istanbul Conservatory, The Walker Art Center, Purchase College, and the Lucerne School of Music, among many others.


Bobby Previte brings his percussion piece TERMINALS to university students and professional ensembles. The project is a thrilling and prolific meeting of the classical and the improvised worlds. Using an large array of instruments, these works are a perfect vehicle for students as they require not only exacting reading and performing skills but also some degree of improvisation, an awareness of feel, and theatrical presence. Previte directs percussion ensembles in this workshop culminating in a performance. TERMINALS has been performed by the legendary SO Percussion, Studio Percussion Graz, Les Percussions de Strasbourg, and students at New York University.

Bobby Previte’s Terminals is a uniquely visioned tour de force that is sure to change the landscape of the percussion quartet repertoire. — Josh Quillen, SO Percussion

The NYU Percussion Ensemble’s recent performance of Bobby Previte’s Terminal 4 was an outstanding opportunity for our students to enter the world of improvisation alongside the familiar world of “written out” composition. The result of this amalgamation of musical styles was a creative and satisfying musical experience that spanned many integral art forms. It is without  doubt a necessity that every musician have a vast musical knowledge, vocabulary and experience in this genre. Terminals is the seminal work in the percussion ensemble repertoire for such important and far-reaching experiences. The additional success of the project included the insightful and inspiring direction given to the NYU students by the composer Bobby Previte whom I have found to be an excellent communicator as well as a consummate artist and pedagog. — Jonathan Haas; Director/Conductor,  NYU Percussion Ensemble and Percussion Program


Armed with the charts that he transcribed from Miles Davis’ 1970 seminal record, Previte travels to locations around the world, rehearses musicians and directs them in a concert performance. Previte has done this to critical acclaim in Sydney, Australia; Melbourne, Australia; the Cheltenham Jazz Festival/Birmingham Conservatoire, UK; and in Buffalo, New York, selling out the famed Tralfamadore.

The musicians who experience this are transformed overnight; many remark that playing this music is cathartic and life-changing. Previte’s Bitches Brew Project is the perfect vehicle for teaching musicians patience, thoughtfulness, deep listening, and above of all, how to banish fear from their playing.


In this project-based course, students are active collaborators in the re-imagination of a interdisciplinary performance work, MEMOIR. Working collaboratively, students will form an acoustic ensemble that will transcribe, re-conceptualize, re-compose, and perform the music from MEMOIR. Originally created as a late 1990s electronic score by sampling and processing acoustic instruments, our ensemble will re-interpret this music back into the acoustic realm using all manner of notation – traditional to graphic – and watch it transform into a completely new work. Students will then rehearse and develop the ensemble until all 36 movements are able to be played live. Through this process students will explore composition, orchestration, group improvisation, interdisciplinary collaboration, scoring for theater/dance/visual art, and extended instrumental techniques. Also taught in collaboration with interdisciplinary performance/theater artist, Andrea Kleine.


Bobby Previte delivers a multi instrument and multi disciplinary workshop for all levels of student and professional musicians, artists, and the interested general public. The workshop consists of a lecture, a question and answer period, and, if time permits, a demonstration, through recorded music, of many of the concepts discussed in the lecture.

These include: possible goals and directions of a life in music, and of musical education; the different techniques needed to reach those different goals; the folly of goals, practicing regimens, the idea of practice being music and not “something else”; the attainment of one’s own sound and voice in music and the enjoyment of same; the relevance of other disciplines to the musician; the use and misuse of imitation; the seductive power of beauty and it’s dangers; detachment as a state of grace; the un-setting of one’s mind; the stages of hearing-how to hear, how to listen; the importance of context; the power of expectation; the surprising freedom in limitation; risk taking; true free thinking; John Cage, Igor Stravinsky, Claude Debussy, Miles Davis, The Band, William Faulkner, Alfred Hitchcock, Led Zeppelin, Gregory Bateson, Joe Montana, George Balanchine, Johannes Vermeer, Mies van der Rohe, Brunelleschi’s Dome, and Napoleon.

Also potential topics include an in depth discussion of Previte’s 10 Thoughts on Improvisation, a list jotted down one morning after a request by the So Percussion group for their students at Princeton.

By appointment in Previte’s New York City studio.

For more information, email: concertmaster@bobbyprevite.com

Comments are closed.