Ear Training Faculty

Ruthie Ristich

Assistant Professor, Ear Training
rristich@berklee.edu | 617 747-6376

"Working with people who have more experience, or who are better than you, is how you get better."

Gilson Schachnik

Associate Professor, Ear Training
Also affiliated with:: Ensemble
gschachnik@berklee.edu | 617 747-8406

"How do we make ear training relevant, instead of being some academic or abstract course that students have to take, but don't understand why."

Mitch Seidman

Professor, Ear Training
mseidman@berklee.edu | 617 747-8357

"When the students are having trouble with some technical aspect, I let them know that I've been there myself and there's light at the end of the tunnel."

Mark Shilansky

Assistant Professor, Ear Training
mshilansky@berklee.edu | 617 747-8598

"There's a lot of work involved in acquiring the skills to become a creative musician. You can have the creativity, but it comes out more easily if you do the work to acquire these tools."

Paul Stiller

Professor, Ear Training
pstiller@berklee.edu | 617 747-8236

"When you're producing an album and run into performance problems, you have to troubleshoot on the spot. Ear training gives you tools to draw from. But you also need communication skills to work with different musicians in a way that makes sense to them. I've worked with groups of people who are unbelievably talented but can't read music and have never tried to lock to a click track before. So you have to come up with a new musical language to reach them. It's all about figuring out new ways to teach the same thing."

David Vose

Professor, Ear Training
dvose@berklee.edu | 617 747-8389

"I have worked with many students from all over the world. I've noticed that although I see many talented students at my clinics, my Berklee students tend to have a wider range of knowledge."

August Watters

Professor, Ear Training
awatters@berklee.edu | 617 747-8686

"Nobody comes to Berklee to study ear training, and yet what we do here is the most practical thing. What we're dealing with are long-term musicianship skills that are not for any particular style, but are important to all musical styles."

Julia Werntz

Associate Professor, Ear Training
jwerntz@berklee.edu | 617 747-6240

"When you get the pitches, then it’s like you have 12 actors at your disposal, each with his or her own general traits, but also chameleon-like, able to change character according to the setting. Master this, and then you’ll really start to be in control of your own art."

Darcel Wilson

Assistant Professor, Ear Training
dwilson@berklee.edu | 617 747-3048

"I say go for what you want with what you have. Go for it."