Marty Walsh

Assistant Professor
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  • Career Highlights


    • Performances with LeAnn Rimes, Supertramp, John Fogerty, John Denver, Seals and Crofts, and Eddie Kendricks
    • Recordings with LeAnn Rimes, Supertramp, Donna Summer, Eddie Money, Neil Diamond, Christopher Cross, Dolly Parton, Kenny Rogers, Sheena Easton, Julio Iglesias, John Denver, Air Supply, and Gary Wright
    • Songs recorded by Gary Wright, Air Supply, and Agnetha Faltskog of Abba
    • Wrote and produced songs or cues for 20th Century Fox Film, NBC TV, CBS TV, Entertainment Tonight, Extra, Sister Sister, and Roundhouse


In Their Own Words

"There is nothing like experience as a learning tool. I draw 90 percent of what I use in my classes from my own background. My experience with some really wonderful musicians, in terms of performance and production, has given me a backlog of information I can draw on, be it music to work with in my ensembles or ideas I use in my production classes."

"In my MP&E classes, I try to look at many of the small details of production that otherwise would have a tendency to go unnoticed. In my ensembles, I like to be 'part specific.' I look at how the drums and bass are interacting. I look at how the harmonic instruments are interacting. Are they playing in appropriate registers? Are the parts complementing or fighting each other?"

"Once we get the tune up and running, the players have more liberty to embellish their parts—within the framework of the tune. The song comes first. All improvisational ideas are drawn from the song."

"To be a good ensemble player, the first thing you've got to have is good feel. If you can't perform with a good groove, it's useless. The second thing is interaction. Your individual performance is secondary to the way you fit with the band. The third is content. I am big on theme and development. Learn the song, the melody and the harmony, and base your playing on that content."

"Hearing my ensembles play better in the final performance than they did on day one of class is extremely rewarding. Listening to the final mixes of my music production students, when they have really taken a song from point A to point Z, and it sounds like it should be on the radio—well it doesn't get much better than that."