Guitar Faculty

Jon Wheatley

Associate Professor, Guitar
jwheatley@berklee.edu | 617 747-8115

"Reading can be a way of thinking even more precisely about what you want to play. This is what an improviser does."

Mark White

Professor, Guitar
mwhite@berklee.edu | 617 747-8398

"For the students, it's not about learning things that they have to do; it's about learning things that they want to be able to do."

John Wilkins

Associate Professor, Guitar
jwilkins@berklee.edu | 617 747-8400

"I'm more interested in jumping into the pool with my students, finding out what they're successful at, and what they're not, and seeing what works."

Michael Williams

Professor, Guitar
Also affiliated with: Berklee Online (available courses)
mwilliams@berklee.edu | 617 747-8227

"I see a lot of people who are interested in blues and jazz, and those are the main areas that I love to work in. Students come in who are already blues players, wanting to work on elements of jazz, and students come in who are jazz or rock players, wanting to get more blues into their playing. I try to make students as complete as I can all-around, on guitar skills, rhythm guitar playing, and soloing. If they're interested in playing over changes, we work on that; if they want to get more into real, straight blues, I'm happy to go in that direction, as well. We dedicate a good amount of lesson time each week toward the personal strengths of the style or styles students are interested in."

Bret Willmott

Professor, Guitar
bwillmott@berklee.edu | 617 747-8229

"Practicing and playing at home is important preparation, but it can't simulate or create the same focus and attention that you need, and reactions you'll experience, while performing. You have to get out and play to advance."

Norman Zocher

Professor, Guitar
Also affiliated with: Berklee Online (available courses)
nzocher@berklee.edu | 617 747-8221

"You can't sound good if you don't sound good. Sound is probably the most fundamental musical element. It's the thing nonmusicians, even newborn babies, know instantly if it's good or not. There are so many facets to what makes a good sound, but I think what captures it best—the basic definition of technique—is touch. It's also that your sound must be coming from your ear internally first, then you shape it on the instrument. The answer is not in the equipment. The answer is in your own hands."

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