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SKILLS HAVER
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instruments:
Piano – 20+ years. Strong sight-reading, decent transposing, knowledge of jazz harmony, strong familiarity with the musical theatre canon. Strong ability to groove in a variety of genres, to improvise nuanced accompaniment from lead sheets, and to improvise underscoring for devised theatre. Very strong relative pitch.
Guitar – 15+ years. Mostly folk, fingerstyle, can pull up some jazz voicings in a pinch. Great ability in open tunings.
Saxophone (tenor and alto), Bassoon, Flute, Mandolin, Ukulele, Accordion, Banjo: basically competent with practice.
software:
Studio One – this is my DAW, which I’ve used for 10+ years. VSTs include a wide variety of Kontakt libraries, Superior Drummer, Pianoteq, Melodyne. Competent in synth programming, basic electronic music production, beat-making.Finale – Very fast and accurate copyist work. Solid template. Decent Keyboard Maestro workflow. Drummers don’t complain when I give them charts.Also proficient in
Mainstage and Dorico.
education:
Private Study with Dr. Ben Hjertmann
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Studied the application of serial composition techniques to tonal music
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Studied examples from the musical theatre canon for management of dissonance, tension and release
Classes
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Subconscious First Draft with C Julian Jiménez (PlayPenn)
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Musical Theatre Composition with Georgia Stitt, and was selected for a pilot program by Todd London that created a cohort of dramatists to create community and support one another’s work through the pandemic.
Pace University — BFA in Acting, 2018
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I pivoted from acting to composing/music directing shortly after school, largely due to a class in musical theatre writing by Ryan Scott Oliver. I wrote a number of musicals in college, including a post-apocalyptic disco interpretation of Lysistrata.