Many musicians know percussionist Alan Abel as the man who perfected the triangle.

During his early years performing with the Philadelphia Orchestra, Abel created a chrome-plated version of the instrument with a bright, clear tone that set a new standard of quality. Since then, more than 70,000 units have been sold to schools, orchestras and individual players around the world, all carrying the Abel name.

But Abel’s influence on symphonic sound goes far beyond any single instrument. As an adjunct professor in the Boyer College of Music and Dance for more than 38 years, he has prepared 59 master-level percussionists to go on to win auditions with major orchestras — no small accomplishment given the small number of percussion chairs that come open each year. His reputation as an educator and many achievements as a performer, author and inventor have made him a legend in the percussion world.

Being a percussionist requires a broad skill set. Orchestral percussionists must be expertly prepared to get the right sound from more than 60 instruments, including the glockenspiel, xylophone, snare drum, bass drum, tambourine and cymbals, to name just a few. Abel attributes his success as a teacher to his ability to identify students with the talent, technique and passion to manage these demands and succeed in a competitive industry.

“I’ve been really fortunate to be able to have a good number of really talented people to be able to select from,” said Abel. “But when they go out to play, I can’t go play for them. I have to train them to be able to play a number of things that they get a big broad view of what needs to be done.”

Abel provides each student with a level of personal attention that begins with their first interaction. During an hour-long audition, he evaluates their hand control, listening abilities and musicality, along with more intangible qualities such as work ethic and passion. Only those who meet these standards at the highest level will be accepted for graduate study — three players are chosen annually from an audition pool that this year will exceed 18.

But those who do get in have the rare opportunity to study with a master craftsman. Abel's students say he balances a nurturing style with a commitment to excellence that drives them to master the fine elements of musicality and sound.

“I’ve gotten a lot more picky because he’s very picky,” said second-year graduate percussion student Elliot Beck. “I have to learn how to hear the things he hears with the same level of detail. It’s not just about how to play technically, but how best to fit in with what else is going on with the music.”

Abel is quick to point out that Temple’s percussion program is anything but a one man show. His former students Glenn Steele and Phil Obanion teach the undergraduate percussionists, and Angela Nelson, Christopher DeViney and Don Liuzzi, all members of the Philadelphia Orchestra percussion section, help teach the graduate students. Together, Abel says, the team is working to ensure that the program’s legacy of excellence transcends any one individual.

“I like to think that because we play in the orchestra, we’re all going down the same boulevard, but there’s room for more than one lane,” said Abel. “Down the road when I finally decide to hang it up, there will be people here to carry on these traditions.”

But Abel’s not ready to put down his mallets just yet.

“With all these years of experience, I still have a perspective that not many have,” he said. “I just feel that, as long as I can still put it out there, I should be here.”

To read more about the alumni Abel has trained througout his career at Temple, see the Temple Review feature story, Ready, Willing and Abel.