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FREE music lessons from Berklee College of Music Drum Set Warm-Ups Rod Morgenstein Lesson 1 One-Hand Sixteenths

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© 2005 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

Berklee is offering free music lessons online designed to expand educational opportunities for musicians around the globe. The music lessons are available for free download from the Berkleeshares.com Web site and via a growing network of partner Web sites. These free music lessons are also available on digital file sharing networks. We encourage people to share our lessons with other musicians. While Berklee strongly disapproves of stealing copyrighted music online, we believe that file sharing offers new opportunities for musicians to learn, and to promote and distribute their work.

INTRODUCTION After years of warming up exclusively on a practice pad before tearing into my drums, I was struck by the grand realization that playing the drum set involves a dramatically wider range of body motions, movements, and coordination than a drum pad. Of course, there is no substitute for a drum pad warm-up, as it is the definitive way to focus on hand, wrist, and finger development. But what about the arm and body motions involved in moving from drum to drum, hand to foot, or reaching for a cymbal some distance away? It was in this moment of realization that the idea for Drum Set Warm-Ups was born — not to mention the fact that the drum set is perhaps the only musical instrument on which warm-ups do not occur on the actual instrument itself. Imagine a guitarist or keyboardist warming up exclusively on a slab of wood! Consider this book a natural extension of your snare/pad warm-up book(s) and use it in much the same way. Pick a page and play each exercise until it sounds and feels comfortable. String two or more examples together to create two-, four-, and eightbar phrases. Some exercises are straightforward and relatively easy to play, while others are quite challenging. So, if a particular exercise is too difficult, move on to the next one and come back to the more difficult one at another time, or in the case of a multi-limb exercise, leave off one of the parts (for example, a quarter-note bass drum or hi-hat foot part). It is not imperative to go through the book in chronological page order, although it is suggested, initially, to go through the book this way. Be more musical and less mechanical by varying the dynamic levels and tempos of the exercises. Most of the exercises are not intended to be applied note for note as cool fills or beats. In fact, some may seem downright unusual or even unmusical. Rather, they have been designed as drum set warm-ups to limber up the entire body (not just the wrists, hands, and fingers) and improve specific areas of drum set playing such as speed, power, control, dexterity, coordination, independence, accuracy, endurance, and agility. These exercises were designed primarily as patterns of movement. Some will be immediately obvious, but with others, you may have to play them for a while before the pattern reveals itself. By having the arms and body moving in clockwise, counterclockwise, up, down, side-to-side, crossover, cross-under, and crisscross motions, a greater facility and command of the drum set will be achieved, along with a dramatic increase in confidence.

NOTATION KEY These exercises are written for a standard 5-piece drum set, but with a little imagination they can be adapted to larger or smaller kits.

/ œ Bass Drum

œ

f

h

Snare Drum

CrossStick

Stick Shot*

œ

œ

x

œ

Large Medium Small Tom Tom Tom

Hi-Hat

xo

x

Open Hi-Hat Hi-Hat Pedal

xo

x

X

Hi-Hat Ride Cymbal Crash Splash Cymbal Bell Cymbal

R = Right Hand L = Left Hand R = Right-Hand Crossover L = Left-Hand Crossover B = Both Hands * Strike left stick with right stick while left stick rests on drumhead in cross-stick position

ii

x

LESSON

1

SUBJECT

TECHNIQUE

One-Hand Sixteenths

All strokes played with the same hand

A high level of accuracy can be achieved by focusing on one limb at a time. Play each exercise several times through with just the right hand and then just the left hand. Strive for an even, consistent sound, and try to strike each drum in the center. Exercises 15 and 16 are especially challenging due to the long reach from the hi-hat to the ride cymbal. R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

1

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

œ œ œ 4 œ / 4 œ œ œ œ œ œ œ œ œ œ œ œ ..

9

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

2

4 œœ œœ œœ œœ / 4 œ œ œ œ œ œ œ œ ..

10

œ œ œ œ / 44 œ œ œ œ œ œ œ œ œ œ œ œ ..

11

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. / 44

12

œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œœ œœ /4

13

œ œ / 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

14

œ œ / 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

15

x œ x Xx œ x x œ x Xx œ x . 4 . œ /4œ R R R R R R R R R R R R L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

8

x xxœœœœœxœœœœœœ. 4 . /4 œ R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

7

œ X œ œ x œ œ œ X œ œ x œ œ .. 4 œ œ /4 R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

6

x œœœ x œœœ 4 œœ œœ œ œ .. /4 œœ R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

5

œ œ x œ œ œ œ œ œ x œ œ œ .. 4 œ œ œ /4 R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

4

4 x œ œ x œ œ œ œ x œ œ x œ œ œ œ .. /4 R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

3

œ 4 œ / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

œœœœœœœœœœœœœœœ. 4 œ . /4

16

1

x œ x x œ x œ x x . 3 œ œ œ . /4

FREE music lessons from Berklee College of Music Drum Set Warm-Ups Rod Morgenstein Lesson 2 Four Strokes Per Hand

Press ESC to cancel sound.

Check out Berkleeshares.com for more lessons just like this one.

© 2005 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

Berklee is offering free music lessons online designed to expand educational opportunities for musicians around the globe. The music lessons are available for free download from the Berkleeshares.com Web site and via a growing network of partner Web sites. These free music lessons are also available on digital file sharing networks. We encourage people to share our lessons with other musicians. While Berklee strongly disapproves of stealing copyrighted music online, we believe that file sharing offers new opportunities for musicians to learn, and to promote and distribute their work.

INTRODUCTION After years of warming up exclusively on a practice pad before tearing into my drums, I was struck by the grand realization that playing the drum set involves a dramatically wider range of body motions, movements, and coordination than a drum pad. Of course, there is no substitute for a drum pad warm-up, as it is the definitive way to focus on hand, wrist, and finger development. But what about the arm and body motions involved in moving from drum to drum, hand to foot, or reaching for a cymbal some distance away? It was in this moment of realization that the idea for Drum Set Warm-Ups was born — not to mention the fact that the drum set is perhaps the only musical instrument on which warm-ups do not occur on the actual instrument itself. Imagine a guitarist or keyboardist warming up exclusively on a slab of wood! Consider this book a natural extension of your snare/pad warm-up book(s) and use it in much the same way. Pick a page and play each exercise until it sounds and feels comfortable. String two or more examples together to create two-, four-, and eightbar phrases. Some exercises are straightforward and relatively easy to play, while others are quite challenging. So, if a particular exercise is too difficult, move on to the next one and come back to the more difficult one at another time, or in the case of a multi-limb exercise, leave off one of the parts (for example, a quarter-note bass drum or hi-hat foot part). It is not imperative to go through the book in chronological page order, although it is suggested, initially, to go through the book this way. Be more musical and less mechanical by varying the dynamic levels and tempos of the exercises. Most of the exercises are not intended to be applied note for note as cool fills or beats. In fact, some may seem downright unusual or even unmusical. Rather, they have been designed as drum set warm-ups to limber up the entire body (not just the wrists, hands, and fingers) and improve specific areas of drum set playing such as speed, power, control, dexterity, coordination, independence, accuracy, endurance, and agility. These exercises were designed primarily as patterns of movement. Some will be immediately obvious, but with others, you may have to play them for a while before the pattern reveals itself. By having the arms and body moving in clockwise, counterclockwise, up, down, side-to-side, crossover, cross-under, and crisscross motions, a greater facility and command of the drum set will be achieved, along with a dramatic increase in confidence.

NOTATION KEY These exercises are written for a standard 5-piece drum set, but with a little imagination they can be adapted to larger or smaller kits.

/ œ Bass Drum

œ

f

h

Snare Drum

CrossStick

Stick Shot*

œ

œ

x

œ

Large Medium Small Tom Tom Tom

Hi-Hat

xo

x

Open Hi-Hat Hi-Hat Pedal

xo

x

X

Hi-Hat Ride Cymbal Crash Splash Cymbal Bell Cymbal

R = Right Hand L = Left Hand R = Right-Hand Crossover L = Left-Hand Crossover B = Both Hands * Strike left stick with right stick while left stick rests on drumhead in cross-stick position

ii

x

LESSON

2

SUBJECT

TECHNIQUE

Four Strokes Per Hand

Hands alternate in groups of four notes

In the following exercises, one hand either repeats what the other hand plays or moves in a “mirror” image.

R R R R L L L L R R R R L L L L

R R R R L L L L R R R R L L L L

1

œ œ œ 4 œ / 4 œ œ œ œ œ œ œ œ œ œ œ œ ..

9

R R R R L L L L R R R R L L L L

L L L L R R R R L L L L R R R R

2

4 œœ œœ œœ œœ / 4 œ œ œ œ œ œ œ œ ..

10

œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œ œ œ œ /4

11

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12

œ œ œ œ / 44 œ œ œ œ œ œ œ œ œ œ œ œ ..

13

œœœœœœœœœœœœœ. 4 œ œ œ . /4

14

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15

x xxœxœ x xxœxœ. 4 . œ œ /4œ œ R R R R L L L L R R R R L L L L

L L L L R R R R L L L L R R R R

8

x x œ Xx œ x x œ Xx œ 4 œ œ œ œ .. /4 R R R R L L L L R R R R L L L L

R R R R L L L L R R R R L L L L

7

xœxœ œ œxœxœ œ. 4 œ œ œ œ . /4œ L L L L R R R R L L L L R R R R

R R R R L L L L R R R R L L L L

6

œ œ œ œ œ œ œ œ / 44 œ œ œ œ œ œ œ œ .. R R R R L L L L R R R R L L L L

L L L L R R R R L L L L R R R R

5

œ œ œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œ œ /4 L L L L R R R R L L L L R R R R

R R R R L L L L R R R R L L L L

4

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. /4 œ œ R R R R L L L L R R R R L L L L

R R R R L L L L R R R R L L L L

3

œ œ 4 / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. / 44

16 2

x xxœ œ x xxœ œ 4 œ œ œ œ .. /4œ œ

FREE music lessons from Berklee College of Music Drum Set Warm-Ups Rod Morgenstein Lesson 3 Alternating Single Strokes

Press ESC to cancel sound.

Check out Berkleeshares.com for more lessons just like this one.

© 2005 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

Berklee is offering free music lessons online designed to expand educational opportunities for musicians around the globe. The music lessons are available for free download from the Berkleeshares.com Web site and via a growing network of partner Web sites. These free music lessons are also available on digital file sharing networks. We encourage people to share our lessons with other musicians. While Berklee strongly disapproves of stealing copyrighted music online, we believe that file sharing offers new opportunities for musicians to learn, and to promote and distribute their work.

INTRODUCTION After years of warming up exclusively on a practice pad before tearing into my drums, I was struck by the grand realization that playing the drum set involves a dramatically wider range of body motions, movements, and coordination than a drum pad. Of course, there is no substitute for a drum pad warm-up, as it is the definitive way to focus on hand, wrist, and finger development. But what about the arm and body motions involved in moving from drum to drum, hand to foot, or reaching for a cymbal some distance away? It was in this moment of realization that the idea for Drum Set Warm-Ups was born — not to mention the fact that the drum set is perhaps the only musical instrument on which warm-ups do not occur on the actual instrument itself. Imagine a guitarist or keyboardist warming up exclusively on a slab of wood! Consider this book a natural extension of your snare/pad warm-up book(s) and use it in much the same way. Pick a page and play each exercise until it sounds and feels comfortable. String two or more examples together to create two-, four-, and eightbar phrases. Some exercises are straightforward and relatively easy to play, while others are quite challenging. So, if a particular exercise is too difficult, move on to the next one and come back to the more difficult one at another time, or in the case of a multi-limb exercise, leave off one of the parts (for example, a quarter-note bass drum or hi-hat foot part). It is not imperative to go through the book in chronological page order, although it is suggested, initially, to go through the book this way. Be more musical and less mechanical by varying the dynamic levels and tempos of the exercises. Most of the exercises are not intended to be applied note for note as cool fills or beats. In fact, some may seem downright unusual or even unmusical. Rather, they have been designed as drum set warm-ups to limber up the entire body (not just the wrists, hands, and fingers) and improve specific areas of drum set playing such as speed, power, control, dexterity, coordination, independence, accuracy, endurance, and agility. These exercises were designed primarily as patterns of movement. Some will be immediately obvious, but with others, you may have to play them for a while before the pattern reveals itself. By having the arms and body moving in clockwise, counterclockwise, up, down, side-to-side, crossover, cross-under, and crisscross motions, a greater facility and command of the drum set will be achieved, along with a dramatic increase in confidence.

NOTATION KEY These exercises are written for a standard 5-piece drum set, but with a little imagination they can be adapted to larger or smaller kits.

/ œ Bass Drum

œ

f

h

Snare Drum

CrossStick

Stick Shot*

œ

œ

x

œ

Large Medium Small Tom Tom Tom

Hi-Hat

xo

x

Open Hi-Hat Hi-Hat Pedal

xo

x

X

Hi-Hat Ride Cymbal Crash Splash Cymbal Bell Cymbal

R = Right Hand L = Left Hand R = Right-Hand Crossover L = Left-Hand Crossover B = Both Hands * Strike left stick with right stick while left stick rests on drumhead in cross-stick position

ii

x

LESSON

3

SUBJECT

TECHNIQUE

Alternating Single Strokes

Hands alternate throughout

The following pages contain a variety of exercises played with alternating single strokes, with the hands moving in a variety of directions (clockwise, counterclockwise, horizontal, vertical, crisscross, or combinations). Some of the exercises might sound somewhat routine, but the idea is to force the hands, arms, and body to move in every possible direction to increase one’s command of the drum set. R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

1

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

œœ œœ 4 / 4 œ œ œ œ œ œ œ œ œ œ œ œ ..

9

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

2

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

4 œ œ œ œ œ œ œ œ œ œ œ œ .. / 4œœœœ

10

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

3

œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œœ œœ /4

11

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12

œœ / 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

13

/ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

14

/ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

œœ œœ œœ œœ / 44 œ œ œ œ œ œ œ œ ..

15

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

8

œœ œœ œœ œœ / 44 œ œ œ œ œ œ œ œ .. R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

7

œ œ œ œ œ œ œ œ œ œ œ œ .. / 44 œ œ œ œ R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

6

œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œ œ œœ /4 R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

5

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. /4 R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

4

4 / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

œœ œœ / 44 œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R L R L R L R L R L R L L R L R L R L R L R L R L R L R

œ œ œ œ œ œ œ œ œ œ œ œ .. / 44 œ œ œ œ

16 3

œœœœœœœœœœœœœœœœ. . / 44

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$7960 Complete certificate tuition (Plus Registration Fee $150) How it works Learn how to enroll into a certificate program, schedule courses, and pay tuition. Choose Your Program Select the certificate program that is right for you. Apply for Financial Aid Finance your education for as little as $50 a month. See your options. Reserve Your Seat Your $150 registration fee reserves your seat. Get in early. Schedule Your Program Create a course schedule that meets your needs. Make Tuition Payments Construct a payment program that works for you.

Berkleemusic - Theory, Harmony & Ear Training Master Certificate

Use harmony creatively in your playing and writing. Learn to hear and modify chord progressions, improvise effectively from chord to chord and deepen your understanding of music's inner workings. BMP-100 Berklee Keyboard Method Paul Schmeling (12 weeks, 3 credits) Learn the Berklee approach to keyboard in this 12week course. Master the basics of technique and chord voicings, and gain an understanding of more advanced concepts including interpretation of lead sheets and improvisation. Elective Course 3 Courses from Theory, Harmony & Ear Training Master Electives

Theory, Harmony & Ear Training Master Electives BMW-101a Writing Music with Finale Jonathan Feist (12 weeks, 3 credits) Create great-looking music quickly and easily with the powerful Finale music notation software, and learn techniques to maximize speed, control, and accuracy. BME-120a Harmonic Ear Training Roberta Radley (12 weeks, 3 credits) Put your harmonic theory into practice. Learn techniques that will improve your performance, arranging, and compositional skills by refining your ability to really hear and recognize what is going on within the chord progressions. BME-111 Getting Inside Harmony 2 Michael Rendish (12 weeks, 3 credits) Take your harmonic development to the next level by gaining a solid footing in more advanced principles including melodic and harmonic tension, chord substitution, and chromatically altered chords. BME-130 Arranging 1 Suzanne Dean (12 weeks, 3 credits) Essential learning for anyone interested in arranging music for a band, Arranging 1 explores all aspects of writing and arranging for the rhythm section. BMPR-101 Desktop Music Production David Mash, Michael Bierylo (12 weeks, 3 credits) Master the tools and techniques for producing greatsounding music at home…and create high quality recordings ready for CD or MP3! BMW-150 Style Writing for Performers and Arrangers Daniel Moretti (12 weeks, 3 credits) Learn to create your own original grooves by analyzing, writing, sequencing and recording the rhythms and styles that have influenced western contemporary music.

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Berkleemusic - Theory, Harmony & Ear Training Master Certificate

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Berkleemusic is accredited by the New England Association of Schools and Colleges (NEASC) © 2001-2006 Berklee College of Music

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Berkleemusic - Music Theory 101 - music theory online

Master Theory, Harmony & Ear Training Certificate ($7960, 24 Credits)

Music Theory 101

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Course Authors: Paul Schmeling Pitch. Rhythm. Scales. Intervals. Chords. Harmony. If you're serious about music, these are fundamental concepts you need to understand and master. Music Theory 101 will set you on your way. After more than 40 years at Berklee, Professor Emeritus Paul Schmeling has helped countless students build a solid base of musical knowledge. And he'll do the same for you, supported by class discussions, interactive tools, and personalized feedback that will help you put these theories into practice every day. Join our community of beginning learners for engaging, hands-on activities that will help you read, write, and truly hear the elements of music like never before. Enroll today! By the end of this course, you will:

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Syllabus Requirements for Music Theory 101

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- Total credits: 24 - Duration: 8 courses - Tuition: $7960 - Registration fee: $150 What is a certificate?

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Paul Schmeling Master pianist, interpreter, improviser and arranger, recently retired as chair of Berklee's piano department. Debbie Cavalier Dean of Continuing Education at Berklee College of Music. Russell Hoffmann Assistant Professor of Piano at Berklee and the author of workbooks on keyboard comping, ensemble performance. Show More Course Faculty

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- Credits: 3 - Duration: 12 weeks - Catalog #: BME-101 Syllabus Requirements

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Read and write musical notation Play notes on a piano keyboard Use scales, intervals, and chords Write a melody

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“Having this fundamental knowledge allows you to better understand basic musical concepts,” Schmeling says. “It allows you to converse with other musicians and communicate through written music. It’s all about musical literacy.” Read more

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Student Comments “Music Theory 101 gave me a solid foundation in basic music theory and demystified a lot of musical terms and ideas that I always had had trouble with trying to learn on my own.” –D. Somerville

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Berkleemusic is accredited by the New England Association of Schools and Colleges (NEASC) © 2001-2006 Berklee College of Music

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Berkleemusic - Music Theory 101 - music theory online

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Berkleemusic - Music Theory 101 - Requirements

Master Theory, Harmony & Ear Training Certificate ($7960, 24 Credits)

Music Theory 101: Requirements Course Authors: Paul Schmeling Berklee Music Theory: Book 1 by Paul Schmeling

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This book is perfect for anyone who wants to learn music theory, whether they already play an instrument, or are looking to expand the depth of their musical knowledge. This essential method features hands-on and "ears-on" practice exercises that help you explore the inner workings of music, presenting notes, scales and rhythms as they are heard in today's music styles. The included CD will help reinforce lessons as you begin to build a solid musical foundation.

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PC Web browser: Firefox 1.0 or higher, Internet Explorer 5.5 or higher, Netscape 6.0 or higher Macintosh Web browser: Firefox 1.0 or higher, Safari 1.0 or higher Macromedia Flash Player Adobe Acrobat Reader Apple QuickTime Player Finale Notepad

Windows 98/2000/NT/Me/XP CD-ROM drive 64MB RAM minimum, 128MB RAM recommended 20 MB hard drive space recommended

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OS 9 or later CD-ROM drive 64MB RAM minimum, 128MB RAM recommended 20 MB hard drive space recommended

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Syllabus Requirements for Music Theory 101

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Certificate Info - Total credits: 24 - Duration: 8 courses - Tuition: $7960 - Registration fee: $150 What is a certificate?

Course Faculty Paul Schmeling Master pianist, interpreter, improviser and arranger, recently retired as chair of Berklee's piano department. Debbie Cavalier Dean of Continuing Education at Berklee College of Music. Russell Hoffmann Assistant Professor of Piano at Berklee and the author of workbooks on keyboard comping, ensemble performance. Show More Course Faculty

Course Preview “Having this fundamental knowledge allows you to better understand basic musical concepts,” Schmeling says. “It allows you to converse with other musicians and communicate through written music. It’s all about musical literacy.” Read more

“Music Theory 101 gave me a solid foundation in basic music theory and demystified a lot of musical terms and ideas that I always had had trouble with trying to learn on my own.” –D. Somerville

Yes, I'm ready to enroll I'm interested and have a few questions

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- Credits: 3 - Duration: 12 weeks - Catalog #: BME-101 Syllabus Requirements

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Berkleemusic is accredited by the New England Association of Schools and Colleges (NEASC) © 2001-2006 Berklee College of Music

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Berkleemusic - Music Theory 101 - Requirements

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Berkleemusic - Music Theory 101 - Syllabus

Master Theory, Harmony & Ear Training Certificate ($7960, 24 Credits)

Music Theory 101: Syllabus Course Authors: Paul Schmeling Lesson 1: Rhythm Part I ● ● ● ●

Pulse Meter Notes Rhythmic Notation Activities

Lesson 2: Rhythm Part II Certificate Programs Online Courses Explore the School

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Eighth Notes Beaming, Dots, and Ties Rhythmic Notation Tips Rhythmic Dictation Activity Rhythmic Notation Activity

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Lesson 3: Pitch Notation ● ● ● ●

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ABCs of Pitch Notation Treble Clef Notes Bass Clef Notes Grand Staff Octaves Accidentals: Sharps, Flats, and Naturals Enharmonics

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Lesson 4: Major Scales

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Half Steps and Whole Steps Chromatic Scales Whole Tone Scales Major Scales Other Major Scales Key Signatures Scales and Key Signatures

Lesson 5: Minor Scales ● ● ● ● ● ● ● ●

The Minor Scale Sound The Relative Major/Minor Relationship Parallel Minor Harmonic Minor Melodic Minor The Descending Melodic Minor Scale The Real Melodic Minor Scale Minor Scale Key Signatures

Lesson 6: Intervals ● ● ● ● ●

Interval Number Names Interval Sound Unison Perfect and Major Intervals Major vs. Minor Intervals

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Course Info - Credits: 3 - Duration: 12 weeks - Catalog #: BME-101 Syllabus Requirements

Certificate Info - Total credits: 24 - Duration: 8 courses - Tuition: $7960 - Registration fee: $150 What is a certificate?

Course Faculty Paul Schmeling Master pianist, interpreter, improviser and arranger, recently retired as chair of Berklee's piano department. Debbie Cavalier Dean of Continuing Education at Berklee College of Music. Russell Hoffmann Assistant Professor of Piano at Berklee and the author of workbooks on keyboard comping, ensemble performance. Show More Course Faculty

Course Preview “Having this fundamental knowledge allows you to better understand basic musical concepts,” Schmeling says. “It allows you to converse with other musicians and communicate through written music. It’s all about musical literacy.” Read more

Student Comments “Music Theory 101 gave me a solid foundation in basic music theory and demystified a lot of musical terms and ideas that I always had had trouble with trying to learn on my own.” –D. Somerville

Berkleemusic - Music Theory 101 - Syllabus

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Perfect/Major vs. Diminished Perfect/Major vs. Augmented Compound Intervals

Lesson 7: Chords I: Triads ● ● ● ●

Major Triads Minor Triads Diminished and Augmented Triads Chord Symbols

Lesson 8: Triad Inversions ● ● ● ●

Triad Inversions Bass/Chord Theory Voice Leading Parallel and Contrary Motion

Lesson 9: Chords II: Basic Seventh Chords ● ● ● ● ● ●

The Major Seventh Chord The Dominant Seventh Chord The Minor Seventh Chord The Minor 7 The Diminished Seventh Chord Chord Symbols and Review

Lesson 10: Inversions and Voice: Leading of Seventh Chords ● ● ● ●

Inversions of Basic Seventh Chords Positions of Basic Seventh Chords Voice Leading Seventh Chords Voice Leading: Two Ways

Lesson 11: Using the Lead Sheet ● ● ● ●

Harmonizing the Melody Creating Harmonic Accompaniments Voice Doublings Increasing Activity in the Bass

Lesson 12: Melody Writing ● ● ●

Making Melodic Connections Repeating Phrases Sequences

What You Should Know ● ●

Syllabus Requirements for Music Theory 101

Ready to Enroll? ● ●

Yes, I'm ready to enroll I'm interested and have a few questions

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Berkleemusic - Music Theory 101 - Syllabus

Berkleemusic is accredited by the New England Association of Schools and Colleges (NEASC) © 2001-2006 Berklee College of Music

http://www.berkleemusic.com/school/certificates/course...38&tab=4370143&area_item_id=1827618&program_id=2432500 (3 of 3)9/17/2006 4:11:20 PM