Sergio Martínez

  • Career Highlights
    • Percussionist, arranger, composer, and educator
    • Flamenco percussionist who has collaborated with many relevant artists such as Enrique Morente, José Mercé, Diego el Cigala, Niña Pastori, and Pepe de Lucía, among others
    • Performed and composed for some of the most important dancers including the National Ballet of Spain, with whom he performed with as cajon soloist with the National Orchestra of Spain at the Royal Theatre in Madrid
    • Private lessons on percussion and jazz at the Berklee Global Jazz Institute with Jamey Haddad, Casey Scheuerell, Terri Lyne Carrington, and Ralph Peterson
    • Performed with renowned artists such as Danilo Pérez, John Patittuci, Joe Lovano, Jamey Haddad, and Terri Lyne Carrington, among others, at international festivals and venues
    • Has recorded numerous albums, including flamenco/jazz flutist Jorge Pardo’s Huellas, and highlighting his last recording for singer-songwriter Paul Simon in 2013
    • Teaches at Berklee’s campus in Valencia and assists with the Berklee Global Jazz Institute and the Berklee Valencia Outreach Program, coordinating community work through music therapy and education activities in the city
  • Education
    • M.M., Berklee College of Music, Valencia, contemporary performance

In Their Own Words

“My teaching style is based on the idea of mentoring. My students can count on me inside and outside the classroom, and the learning flow is circular; we’re learning from each other.”

“My goals are to guide students’ talents to achieve their maximum potential. I’m identifying individual strengths and weaknesses and addressing them with honesty, respect, and challenging them. We’re working, not only on strictly musical aspects and concepts, but digging deeper into molding musicians who commit to a mission: the society of improving communities, making the world a better place.”

“My best teachers were those who I could reach anytime, still today. They were those who committed to the responsibility of ‘passing the message’ to the younger generations and who consider that, even having all kinds of degrees, they haven’t graduated yet. That’s the kind of teacher I am.”

“I want my students to come away not only with a strong domain over the concepts we work on in class but also with a  serious commitment to their careers and creativity.”

“Berklee offers an amazing creative environment full of diversity. This makes the difference. The great panel of faculty wouldn’t make the college as unique if such an amazing community of talented international students weren’t part of it. Everyone has the option to compare him- or herself with other international individuals, a fact that contributes positively to build an artistic identity.”

“Coming from flamenco music, where 99% of the artists don’t have a formal music education in music theory or reading, I really appreciate the great things of the old school, tribal teaching methods, based in oral transmission.”

“Through learning by ear, imitation and practice, I developed strong listening and memorizing skills and also a very strong sense of rhythm, characteristic of flamenco music. I consider these necessary  aspects for the young musicians who have been educated under Western or classical parameters where interpreting is sometimes too attached to reading and where the learning process is also very attached to paper and computers. For me, the combination of both methodologies is the best way to teach, and I challenge my students to learn and memorize by ear as well as by using technology and other resources.”