- Career Highlights
- B.M., Berklee College of Music
- M.M., New England Conservatory of Music
- Active vocalist and band leader
- Performances/recordings with Paul Bley, Jimmy Giuffre, Harvie Swartz, and John LaPorta
- Clinician and adjudicator
- Artist-in-residence, Centro-Cultural Costariccense Norteamericano, Costa Rica
- Faculty member, School of Continuing Education of the New England Conservatory of Music and Wellesley College
In Their Own Words
"Most schools teach only classical harmony. Berklee has a system that started with the Schillinger method, and the harmony program is unique to Berklee. The harmony that you're studying in my department is based on popular music of the past one hundred years, as opposed to Bach's voice leading (which is very good and necessary to understand the music from that era); we're using tunes that are more current. The Harmony Department has a tune file committee that comes up with songs all over the map: Brazilian tunes, jazz tunes, country tunes, r&b tunes, all kinds of stuff, even classical."
"As a singer, I can share a different perspective with students. Singers and drummers usually do things by ear. Drummers are dealing with rhythm, and a lot of times they say, 'Why do I need to know this stuff? I'm just a drummer.' But if you talk to famous drummers who write and lead bands and compose, it's a lot more."
"I'm just finishing up a book for singers about learning the major key signatures. I recorded a CD where I sing all the major scales with the note names. It's exactly what I do in class."
"I also try to get students to play piano. You have to know the note to play it on the piano, so it's a good reference. Guitarists picture their fret board, horn players picture their fingering, and it's important for singers and drummers to picture the keyboard."