David Vose

Affiliated Departments
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Career Highlights
  • Conductor, Musical Director, and Arranger for the Deep Blue “C” Studio Orchestra
  • Performances with the Drifters and Freddy Cannon
  • Artist/clinician with Grover Percussion, Zildjian Cymbals, and the Yamaha Corporation of America
  • Television, recording, and theater credits
  • Clinics presented at Texas Music Educators Conference, Ludwig International Percussion Symposium, PAS, and throughout Europe and Japan
  • Music published by Kendor, Belwin Mills, C.L. Barnhouse, and Columbia Pictures Publications
  • Cofounder of Heart of Boston Entertainment and Heart of Maine Entertainment
  • Author of Drum Studies: Concepts, Reading, Phrasing, and Technique and The Reading Drummer (Berklee Press)
  • Former staff writer at Columbia Pictures
  • Inducted into the Massachusetts Drum Corps and Music Educators Hall of Fame
  • Recipient of Ear Training Faculty Achievement Award
  • Recipient of Thomas J. Long Outstanding Achievement Award

  • B.M., Berklee College of Music
  • M.Ed., Cambridge College
In Their Own Words

"In my Ear Training classes I spend a significant amount of time putting the topics into a 'real music' context. As a clinician for Grover Percussion, Zildjian Cymbals, and the Yamaha Corp. of America, I have worked with many students from all over the world. I've noticed that although I see many talented students at my clinics, my Berklee students tend to have a wider range of knowledge. Therefore, I am able to get into the depths of ear training and musical concepts in a very complete and thorough manner."

"I am currently in a rock band, a jazz band, and a group that plays patriotic music. Playing drums with the patriotic ensemble gives me the opportunity to play a style of drumming called 'rudimental drumming.' You have to develop a good fundamental technique to be able to play it correctly. Over the years I have coached many drummers on this style."

"I've written for various publishing companies, including Columbia Pictures Publications. Most of my arrangements were for the educational division of the company. I learned from some great writers about phrasing and writing in a way that gives musicians the opportunity to be expressive in their performance. I also learned how to highlight strengths in ensemble settings. Because of my writing experience, I try to get the students to be aware of how music is phrased, so that in Ear Training they can recognize melodies, rhythms, and harmonies as something that's not so abstract."