Faculty

e.g. "Tuba"

Jerry Gates

Also affiliated with: Berklee Online
jgates@berklee.edu | 617 747-8411

"My students are composing on notation software. There's immediate feedback, of course, from using the computer, but the music's not going to sound that way with live players. That's often eye-opening for students used to hearing their work on the computer. So I tell my students to write every day and find a way to get some players to play it so they'll get to know what their music is really supposed to sound like."

Rich Grudzinski

"I'm interested in making sure students 'get it' as opposed to just letting them survive on their own, so to speak. Sometimes students will do a project, and they don't get it right. They always have the opportunity to redo it, and I'll look at that new one and forget about the other one. In the music tech courses that I teach, it's very hands-on. So they dive into the software—they learn it however they like to learn—and I go over the technique. Then in Writing Skills, I drill them on the writing. It's just a lot of practice—it's kind of like ear training in that way. And the students invariably get it."

Bernardo Hernandez

bhernandez@berklee.edu | 617 747-8321

"I encourage my students to do their homework as though they are going to use it as a professional somehow, somewhere. You never know. I show my students examples of assignments I did when I was a student that I still use. When I get ideas, I go back to my archives, and I can often put together whole songs very quickly."

David Howard

dhoward@berklee.edu | 617 747-8234

"The Contemporary Writing and Production Department gives you the chance to be involved in a lot of different aspects of music. You write, you arrange, there's a lot of production, so it covers a lot. CWP will prepare you for a variety of different directions. As a guitarist who plays a variety of musical styles, I draw on my experience to teach real-life situations in my classes."

Michael Johnson

mjjohnson@berklee.edu | 617 747-6050

"In CWP, students get some of the writing and some of the technological things, and you really need both of those nowadays. Gone are the days when you could just be a writer and not worry about the technology at all. The kind of versatility that we have built in to our program, I had to learn on my own through all the gigging I was doing and also working as a recording engineer. If I had come here and learned all that stuff then, it probably would have saved me a lot of time."

 

Manuel Kaufmann

mkaufmann@berklee.edu | 617 747-6241

"I teach Arranging 2 and Big Band Arranging. When I went to Berklee, I was a very reluctant arranging student. I just didn't think I needed it, and I wanted to become a studio musician. Taking all the other mandatory classes made sense, but arranging didn't. When would I ever arrange? It's funny that now I teach arranging and sell a lot of my arrangements. That's something that I try to instill in my students: You think you know what you want while you're here, but keep your mind open, because you have to be prepared when opportunities come up."

Wendy L. Klein

wklein@berklee.edu | 617 747-8476

"Everything we do in Writing Skills is tied to our ears, which is where it has its musical meaning. You can tell someone what something is called, but if you can't sing it or clap it or tap it, it doesn't have a whole lot of meaning. I tell students that the ability to hear clearly is probably the most important skill for a musician."

Javier Limon

Artistic Director of Mediterranean Music Institute, Contemporary Writing and Production
jlimon@berklee.edu | 617 747-6255
  • Seven-time Latin Grammy Award winner
  • Graduate of the Madrid Royal Conservatory
  • Composition and production credits include major albums by renowned artists such as Paco de Lucía, Bebo Valdes, El Cigala, Enrique Morente, Wynton Marsalis, and the acclaimed Spanish singer Concha Buika

Gail McArthur-Browne

"A lot of first-semester students are either away from home for the first time or in a foreign country for the first time, and it's a very daunting place for a lot of them. Some of them feel quite lost and very unsettled. I'm always there to listen, if they need someone to talk to, and I talk about what my experience was like coming from Scotland. I arrived at Logan airport with two suitcases and my saxophone, terrified out of my mind—I didn't know anybody in the whole continent—but then coming up Mass. Ave. in the cab and seeing that sign, Berklee College of Music, that was like winning the lottery."

Jan Moorhead

jmoorhead@berklee.edu | 617 747-2343

"Rather than just stuffing students with information, I want to get them to understand the principles behind the information, so that when they go out, they leave the class with an understanding of how things are organized and how to learn other things when presented with them. I want students to know how to be able to operate in a variety of circumstances. The single biggest issue is finding out how you learn, how to break things down, how to find out the atomic elements of the information you're being presented with, so that you don't get overwhelmed."