Ned Rosenblatt

Associate Professor
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  • Career Highlights
    • Vocal jazz ensemble performances at Massachusetts and Florida All-State Conferences
    • Vocal jazz ensemble performances at Arts Schools Network Conference
    • Arranger, clinician, and adjudicator
  • Awards
    • 13 wins with vocal jazz ensembles and jazz combos at the Berklee High School Jazz Festival
  • Education
    • Bachelor’s degree, University of Connecticut, music education
    • Master’s degree, Boston Conservatory/Berklee College of Music, jazz pedagogy

In Their Own Words

“Most of my classes are performance-based, so much of what we are doing is rehearsing. With any of my performing ensembles (Vocal Jazz Ensembles or Concert Choir), it is vitally important to me that students are not just ‘doing the math,’ merely hitting the right notes in rhythm. They need to understand the whole emotional concept of the material. And, of course, they’ve got to make sure the mastery happens along the way.”

“In Rhythm Section Grooves for Vocalists I teach students to write lead sheets in different styles and feels, as well as how to work with a band. This class requires students to understand and explain the entire realm of what is going on in the music for all instruments involved, not just the vocal melody line. It is crucial that vocalists really possess a working vocabulary of music theory and rehearsal techniques, in order to work effectively with a rhythm section, a full band, or an accompanist.”

“Above all, I want my students to learn relevant, well-written, and proven material, whether it’s classical masterworks or professional-level vocal jazz. Working with a very high level of material not only develops necessary skills, but also helps prepare students for life after Berklee.”

“Some people might say I’m very ‘old school.’ I really am big on having a good attitude and respecting others. These ensembles are the ultimate team sport. Performers are responsible to each other. Work ethic and teamwork are crucial to being a successful professional musician. If you are not reliable, it doesn’t matter how talented you are. I try to build a sense of family and responsibility with each ensemble. When band mates are committed to each other, it really shows both in the rehearsal room and on stage in performance.”