Faculty

e.g. "Tuba"

Tsunenori "Lee" Abe

labe@berklee.edu | 617 747-8068

"I'm trying to get students to analyze the music all the time. For instance, if you're a vocalist you probably will not focus on where the snare drum is placed. But if you know what's going on behind you, you can sing better, and you don't have to hire an arranger. I think you can learn the most by analyzing what you like. Why do I like it? Let's try to imitate at first and then make it our own."

Kurt Biederwolf

"The Music Synthesis major, particularly at the elective course level, is diverse by design. We are teaching our students to be highly creative with a wide variety of electronic tools. That creativity could take the form of composition, production, performance, sound design for film/television/video games, software design, or a unique combination of several forms. For some musicians, their identity is with their instrument. For us, it is an electronic sound palette put to innovative and musical use."

Sarah Brindell

Also affiliated with: Berklee Online
sbrindell@berklee.edu | 617 747-2745

"I tell my entry-level students in Contemporary Writing and Production that we'll progress very quickly from 'this is a quarter note' to composing an entire score. I encourage students to bring in the music they love, and we learn how to write it. I have a really eclectic international mix of students with lots of different musical tastes and backgrounds. That's one of my favorite things about the class—it's really fun to delve into so many different styles of music."

Sharon Broadley-Martin

Also affiliated with: Berklee Online

"Writing and singing, singing and writing—these are things I've done since I was very young. Now I teach vocal writing in the Contemporary Writing and Production Department. Here is the perfect place to give my students, many of whom are primarily instrumentalists, the inside scoop on writing and arranging for vocalists and vocal ensembles."

Joe Carrier

jcarrier@berklee.edu | 617 747-2403

"Over the years, the business has seen a paradigm shift, where often a budget only allows for a small or even one-person team to bring a song, score, or jingle to fruition. The CWP major is unique in that it provides the student the skills to become a one-stop shop: the person who has the ability to compose, program, produce, edit, mix, and deliver the product, and negotiate a good price for their work. I'm fortunate to work with students who are about to graduate from CWP, and I desire to leave them with a renewed sense of what is possible for their future, armed with the knowledge and tools necessary to 'live the dream,' much as I have had the honor of doing for so many years."

Jon Chase

jchase@berklee.edu | 617 747-8204

"In Technology Tools and Sound Processing for Writers, I teach students to use more sophisticated audio tools to bring more sonic polish to their work. So much of today's music is being recorded in home studios and at personal computers—in hotel rooms, on airplanes, and in all sorts of places—and much of the recording process is done by artists themselves. So I want to give my students the skills to do it themselves as professionally as possible."

Suzanne Dean

Also affiliated with: Berklee Online
sdean@berklee.edu | 617 747-8431

"A lot of the music that I wrote at Berklee as student projects in the '80s ended up on my solo albums. Many times I have told my students that if you put a lot into your time at Berklee, you can get a lot out of it. It's a great place to begin working on your dreams."

Robert Doezema

rdoezema@berklee.edu | 617 747-8449

"I think it's interesting for students to see how a piece evolves over time from an initial demo to a full arranged piece for recording. They get an appreciation for what arranging music is all about. They can see the initial compositional ideas and the initial ideas for the basic bass, drums, guitar, and keyboard tracks, then see the piece evolve with additional guitar tracks, horn and string tracks, and vocal tracks."

Bill Elliott

belliott@berklee.edu | 617 747-2859

"In the real world, particularly in film scoring, you're always struggling to get many minutes of music recorded in a short amount of time, so it's essential to use the time efficiently. You have to make your intentions clear—to answer players' questions before they have to ask them and take away from your precious time. You also have to write for the situation; so much professional work involves writing music that is easy to rehearse, easy to sight-read, easy to play, and easy to record. You can write something brilliant, but you might need three hours to rehearse it."

Michael Farquharson

"Berklee is a practical music school, for people aspiring to make a living from music. I like to think of us all as journeymen. These are the people working hard every day, under the radar—all the people creating the music we hear on the various broadcast media, all the great writer/producers, the great engineers."