Faculty

e.g. "Tuba"

Bonnie Hayes

bhayes@berklee.edu | 617 747-6311

“We want to make successful songwriters and successful musicians, but the soul of it is in the connection to others and the good it does in the world. Music makes communities stronger and it makes people soulful, which is what we want.”

Jimmy Kachulis

Professor, Songwriting
Also affiliated with:: Berklee Online (available courses)
jkachulis@berklee.edu | 617 747-8240

An accomplished composer, arranger, and conductor, Kachulis has worked with legendary artists such as George Coleman, Jon Hendricks, John Lewis and Martha Reeves.

Scarlet Keys

Associate Professor, Songwriting
skeys@berklee.edu | 617 747-8455

"I create an environment in the classroom that is relaxed, fun, and creative because although craft is an intellectual pursuit, creativity needs to run rampant. It’s like a child learning to walk; it needs to have the freedom to try things out, to play and discover itself."

Jack Perricone

Professor, Songwriting
jperricone@berklee.edu | 617 747-2385

"Berklee-trained songwriters have a deeper understanding of melody writing, lyric writing, harmony, and arranging than the average 'street' writer, and that's what gives our graduates an edge. And, through classes that offer regular critiques of their work, our students learn how well their songs are communicating and how to deal with criticism-as well as the importance of rewriting."

Ivan Sever

Associate Professor, Songwriting
isever@berklee.edu | 617 747-2393

"I think I've been fortunate to experience firsthand the unprecedented revolution in recording technology. I still remember walking into a recording studio for the first time and feeling a kind of reverence for the place: the subdued lighting, the noiseless rush of cool air, and the smell of tape stock. I also remember witnessing my first digital recording session and being in awe of this invisible and mind-boggling new way of capturing sound."

Mark Simos

Associate Professor, Songwriting
msimos@berklee.edu | 617 747-3129

"I don't stand in front of the class dissecting students' songs. That style of critique reinforces the false notion that there is just one way of writing a good song, oriented towards following mainstream conventions. What about the song that's going to come along every once in a while—like John Hartford's Gentle On My Mind—that breaks every single rule and is a brilliant song?"