Ensemble
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Tony Lada, Professor
DEPARTMENT : Ensemble Department"In improvisation, the approach is to teach one concept at a time, ranging from the theoretical to the more creative, like how to shape a solo rhythmically or melodically. I like to think I teach students how, as opposed to what, to think musically, because with jazz, unlike any other kind of music, there's a lot more interpretive freedom for the individual. I also want students to feel safe about taking a chance in areas that they're not too familiar with. I know sometimes it's pretty intimidating to perform in front of your peers. So I try to make students feel relaxed and not worry about making a mistake."
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Fernando Brandao, Associate Professor
DEPARTMENT : Ensemble Department"The most important thing I want for my students is musicality in playing whatever they want to play: expression with rhythm, with pulse, and with movement. To make a beautiful sound, it doesn't need to be one kind of sound, but it does need to be expressive. I also want them to be aware of the culture, to be aware of what they're playing, and feel confidence in it. I try to make students aware—without being self-conscious—of how their body works with the instrument when they're performing."
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Dave Weigert, Professor
DEPARTMENT : Ensemble Department"Attitudes can have a huge impact on the speed at which we learn. A dangerous attitude is when a student labels and oversimplifies a musical concept and dismisses it too easily because the term might not sound impressive. In a recent ensemble, a good bass player was having trouble improvising over a tune in G minor. He didn't have a focus in his approach, so I recommended he try G minor pentatonic. He said he didn't want to play 'autopilot pentatonic.' That stopped everything for me. 'You can't discount pentatonic,' I said. 'It's probably 85 percent of the language of this music that we're playing. Learn the language of pentatonic first, innovate later.' A mindset like that is a trap I want to help students avoid."
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Lin Biviano, Associate Professor
DEPARTMENT : Ensemble Department"The Urban Outreach Ensemble—cosponsored by the Community Affairs Office and the Ensemble Department—is a very rewarding part of my teaching at Berklee. It's an educational jazz orchestra that I've led for the past 12 years. Its primary purpose is to travel and present live jazz to inner city schools. We've played several times at Symphony Hall and other venues. Many of the students who have heard us end up joining Berklee's summer program and even getting four-year scholarships to study at Berklee."
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Diane Wernick, Assistant Professor
DEPARTMENT : Ensemble Department"While I work to create a supportive atmosphere, I also focus on getting the most out of my students. Newer students are often overwhelmed and maybe even intimidated by their surroundings here at Berklee, and it can be really hard for them to open up and play. Even if they play a lot of wrong notes at first, I want them to realize that they have a voice. The more developed player should take advantage of the musical talent that floods this campus. I urge students to play as much as they can, keep an open mind, and learn from every situation."
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Jerry Cecco, Assistant Professor
DEPARTMENT : Ensemble Department"I constantly tell students to improve their reading skills because that’s a big thing in the music business. A lot of my performances are reading music. I do others, too, where I don’t read, where I play memorized stuff, but the big things I do are reading. And I just try to encourage the students."
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Marty Walsh, Assistant Professor
DEPARTMENT : Ensemble Department"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."
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Ed Tomassi, Professor
DEPARTMENT : Ensemble Department"I teach a lot of things by ear—improvisation concepts, balancing solos, different harmonic and melodic concepts. There is a key to teaching improvisation. There are five elements: melody, harmony, form, rhythm, and color. Out of those five elements, I teach different concepts, so the students get a well-balanced diet of solos, so it doesn't sound like they're just concentrating on one element. Some students are more crafted in certain areas, in form or harmony. They may need more melody or more color. It all depends on the individual."
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Robert Schlink, Associate Professor
DEPARTMENT : Ensemble Department"I tell my students that the best thing to say when somebody asks you if you play this kind of music is yes, because then you can get the gig. So when you’re at Berklee you should learn as many different things as you can. Matt Garstka is a guy I use as an example. He was the drummer in the first heavy metal ensemble, and he plays with the band Animals as Leaders. They’re one of the top progressive bands in the world. He was rated all sevens. You don’t get all sevens just knowing how to play heavy metal; you have to know all the different styles."
Read MorePaul Fontaine, Assistant Professor
DEPARTMENT : Ensemble Department- Alumnus, Berklee College of Music
- Performing and recording artist
- Former trumpeter with Woody Herman
- Member of Herb Pomeroy Orchestra, Greg Hopkins Big Band, and TKO Big Band
- Experienced improvisation and arranging instructor
- Leader of own jazz quintet and sextet