e.g. "Tuba"

Tsunenori "Lee" Abe

labe@berklee.edu | 617 747-8068

"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

"Just as influential musicians have defined their unique instrumental or vocal sound, we push our students to define and develop their own electronic signature and use this to gain recognition in the music field."

Sharon Broadley-Martin

Also affiliated with:: Berklee Online (available courses)

"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

"I desire to leave my students 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

"To me, the recording studio is a musical instrument. You need to spend time with it: learn how to caress it to get the right sounds out of it."

Suzanne Dean

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

"A lot of the music that I wrote at Berklee as a student in the '80s ended up on my solo albums. I often tell 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

"The students bring music that's important to them to the classroom, and they bring their ideas about making music to the classroom. It's an incredibly informative experience for me."

Bill Elliott

Also affiliated with:: Berklee Online (available courses)
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

"I tell my graduating students, 'In several weeks, you'll be out there, starting your careers. If you're writing film scores, your competition is John Williams, not the person sitting beside you in class.'"

Jerry Gates

Also affiliated with:: Berklee Online (available courses)
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."