FREE music lessons from

Berklee College of Music

Drum Set Warm-Ups

Rod Morgenstein

Lesson 1
One-Hand Sixteenths

Press ESC to cancel sound. 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
Check out Berkleeshares.com for more lessons digital file sharing networks. We encourage
just like this one. 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.

© 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
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 eight-
bar 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, counter-
clockwise, 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 œ x xo x X x
/ œ œ f h œ x xo
Bass Snare Cross- Stick Large Medium Small Hi-Hat Open Hi-Hat Hi-Hat Ride Cymbal Crash
Drum Drum Stick Shot* Tom Tom Tom Hi-Hat Pedal 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
 LESSON SUBJECT TECHNIQUE
1 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 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 L L L L L L L L L L L L L L L L

4 œ œ œ œ 4 œ œ
1 / 4 œ œ œ œ œ œ œ œ œ œ œ œ .. 9 / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R R R R R R R R R R R R R R R R 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 L L L L L L L L L L L L L L L L

œœ œœ œœ œœ 4 x œ œ x œ œ œ œ x œ œ x œ œ œ œ ..
/ 4 œ œ œ œ œ œ œ œ ..
4
2 10 /4
R R R R R R R R R R R R R R R R 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 L L L L L L L L L L L L L L L L

œ œ œ œ œ œ x œ œ œ œ œ œ x œ œ œ ..
3 / 44 œ œ œ œ œ œ œ œ œ œ œ œ .. 11
4
/4 œ œ œ

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

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. x œœœ x œœœ
4 / 44 12 /4 œœ
4 œœ œœ œ œ ..

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

4 œ œ œ œ œ œ œ œ œ œ œ œ .. 4 œ X œ œ x œ œ œ X œ œ x œ œ ..
5 /4 œœ œœ 13 /4 œ œ

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

œ œ x xxœœœœœxœœœœœœ.
6 / 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 14
4
/4 œ .

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

œ œ x œ x Xx œ x x œ x Xx œ x .
/ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
4
7 15 /4œ œ .

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

œœœœœœœœœœœœœœœ. x œ x x œ x œ x x .
8
4
/4 œ . 16
3
/4 œ œ œ .
1
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. 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
Check out Berkleeshares.com for more lessons digital file sharing networks. We encourage
just like this one. 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.

© 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
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 eight-
bar 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, counter-
clockwise, 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 œ x xo x X x
/ œ œ f h œ x xo
Bass Snare Cross- Stick Large Medium Small Hi-Hat Open Hi-Hat Hi-Hat Ride Cymbal Crash
Drum Drum Stick Shot* Tom Tom Tom Hi-Hat Pedal 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
 LESSON SUBJECT TECHNIQUE
2 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

4 œ œ œ œ œ œ
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ .. / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
1 9
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

œœ œœ œœ œœ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
/ 4 œ œ œ œ œ œ œ œ .. /4 œ œ
2
4 10

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

4 œ œ œ œ œ œ œ œ œ œ œ œ .. 4 œ œ œ œ œ œ œ œ œ œ œ œ ..
3 /4 œ œ œ œ 11 /4 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

œœ œœ œœ œœ œ œ œ œ œ œ œ œ
4 / 44 œ œ œ œ œ œ œ œ .. 12 / 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

œ œ œ œ xœxœ œ œxœxœ œ.
/ 44 œ œ œ œ œ œ œ œ œ œ œ œ ..
4 œ
5 13 /4œ œ œ œ .

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 œ œ œœœœœœœœœœœœœ. 4 x x œ Xx œ x x œ Xx œ
6 /4 œ . 14 /4 œ œ 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

œœ œœ x xxœxœ x xxœxœ.
/ 44 œ œ œ œ œ œ œ œ œ œ œ œ ..
4
7 15 /4œ 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

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. x xxœ œ x xxœ œ
/ 44 /4œ œ œ œ œ œ ..
8 16
4
2
FREE music lessons from
Berklee College of Music

Drum Set Warm-Ups

Rod Morgenstein

Lesson 3
Alternating Single Strokes

Press ESC to cancel sound. 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
Check out Berkleeshares.com for more lessons digital file sharing networks. We encourage
just like this one. 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.

© 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
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 eight-
bar 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, counter-
clockwise, 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 œ x xo x X x
/ œ œ f h œ x xo
Bass Snare Cross- Stick Large Medium Small Hi-Hat Open Hi-Hat Hi-Hat Ride Cymbal Crash
Drum Drum Stick Shot* Tom Tom Tom Hi-Hat Pedal 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
 LESSON SUBJECT TECHNIQUE
3 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 com-
mand of the drum set.
R L R L R L R L R L R L R L R L
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
L R L R L R L R L R L R L R L R
œœ œœ
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ ..
4 4
1 9 / 4 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 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 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 .. 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
/ 4œœœœ
4
2 10 /4
R L R L R L R L R L R L R L R L 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 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 .. 4 œ œ œ œ œ œ œ œ œ œ œ œ ..
3 /4 œœ œœ 11 /4 œ œ œœ
R L R L R L R L R L R L R L R L 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 L R L R L R L R L R L R L R L R

œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ ..
4 / 44 œ œ œ œ œ œ œ œ œ œ œ œ .. 12 / 44 œ œ œ œ
R L R L R L R L R L R L R L R L 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 L R L R L R L R L R L R L R L R

œœ œœ œœ œœ œœ
5 / 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 ..
R L R L R L R L R L R L R L R L 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 L R L R L R L R L R L R L R L R

6 / 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 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 L R L R L R L R L R L R L R L R

œœ œœ œœ œœ œœ œœ
7 / 44 œ œ œ œ œ œ œ œ .. 15 / 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 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 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 .. œœœœœœœœœœœœœœœœ.
8 / 44 œ œ œ œ 16 / 44 .
3
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including production, songwriting, and arranging that Complete certificate tuition
View a Sample Course (Plus Registration Fee $150)
will allow you to apply your theory, harmony, and
Financial Aid ear training background to a number of different
music making disciplines. How it works
Learn how to enroll into a certificate
Substitutions may be requested for electives. Please program, schedule courses, and pay
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contact our Continuing Education Registrar at tuition.
Listen to our students music.
registrar@berkleemusic.com or call (617) 747-
Choose Your Program
UCEA Award Winner 2146 to see if your request suits the overall
Select the certificate program
Voted best online course. academic requirements for your chosen program.
that is right for you.
Register Apply for Financial Aid
Required Courses
Sign up for free today. Finance your education for as
Tell a Friend little as $50 a month. See your
BME-101 Music Theory 101 options.
Share the online experience.
Paul Schmeling (12 weeks, 3 credits) Reserve Your Seat
Get the musical foundation you need to take your
Your $150 registration fee
skills to a higher level. Learn to read, write, really
reserves your seat. Get in early.
listen…and put theory into practice every day!
Schedule Your Program
Create a course schedule that
BME-115 Basic Ear Training 1
meets your needs.
Roberta Radley, Matt Marvuglio (12 weeks, 3 credits)
This practical approach to ear training will help you Make Tuition Payments
build your confidence as a performer by teaching Construct a payment program
you how to notate basic rhythms and better identify that works for you.
the different parts of a song.

BME-201 Music Theory 201

Paul Schmeling (12 weeks, 3 credits)
Become a more effective player and writer by
furthering your music theory background. Learn
more complex chords, progressions, and rhythms to
open up your understanding of the elements that
help put the groove in jazz, pop, blues, and rock.

BME-110 Getting Inside Harmony 1

Michael Rendish (12 weeks, 3 credits)

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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 12-
week 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 great-
sounding 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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© 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

Course Authors: Paul Schmeling
Pitch. Rhythm. Scales. Intervals. Chords. Harmony. If you're serious
Course Info
about music, these are fundamental concepts you need to - Credits: 3
understand and master. Music Theory 101 will set you on your way. - Duration: 12 weeks
After more than 40 years at Berklee, Professor Emeritus Paul - Catalog #: BME-101
Schmeling has helped countless students build a solid base of Syllabus
musical knowledge. And he'll do the same for you, supported by Requirements
class discussions, interactive tools, and personalized feedback that
will help you put these theories into practice every day. Join our
Certificate Info
community of beginning learners for engaging, hands-on activities
- Total credits: 24
that will help you read, write, and truly hear the elements of music - Duration: 8 courses
like never before. Enroll today! - Tuition: $7960
Certificate Programs
- Registration fee: $150
By the end of this course, you will: What is a certificate?
Online Courses

Explore the School Course Faculty

● Read and write musical notation
Our Faculty ● Play notes on a piano keyboard Paul Schmeling Master
● Use scales, intervals, and chords pianist, interpreter,
Our Students ● Write a melody improviser and arranger,
recently retired as chair
View a Sample Course of Berklee's piano
You may also enroll in this course individually. department.
Financial Aid Debbie Cavalier Dean of
Continuing Education at
Berklee College of Music.
Berkleemusic Radio Russell Hoffmann
Listen to our students music. What You Should Know Assistant Professor of
Piano at Berklee and the
UCEA Award Winner ● Syllabus author of workbooks on
Voted best online course. ● Requirements for Music Theory 101 keyboard comping,
ensemble performance.
Register Show More Course Faculty
Sign up for free today. Ready to Enroll?
Yes, I'm ready to enroll Course Preview
Tell a Friend
●

I'm interested and have a few questions “Having this fundamental

Share the online experience. ●
knowledge allows you to better
understand basic musical
concepts,” Schmeling says. “It
allows you to converse with other
Printable View | Top of Page 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

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© 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
Course Info
- Credits: 3
This book is perfect for anyone who wants to learn - Duration: 12 weeks
music theory, whether they already play an - Catalog #: BME-101
Syllabus
instrument, or are looking to expand the depth of
Requirements
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 Certificate Info
rhythms as they are heard in today's music styles. The included CD - Total credits: 24
will help reinforce lessons as you begin to build a solid musical - Duration: 8 courses
Certificate Programs foundation. - Tuition: $7960
- Registration fee: $150
Online Courses What is a certificate?
Software
Explore the School Course Faculty
● PC Web browser: Firefox 1.0 or higher, Internet Explorer 5.5
Our Faculty or higher, Netscape 6.0 or higher Paul Schmeling Master
● Macintosh Web browser: Firefox 1.0 or higher, Safari 1.0 or pianist, interpreter,
Our Students higher improviser and arranger,
● Macromedia Flash Player recently retired as chair
View a Sample Course ● Adobe Acrobat Reader of Berklee's piano
● Apple QuickTime Player department.
Financial Aid Debbie Cavalier Dean of
● Finale Notepad
Continuing Education at
Hardware Requirements: PC Users Berklee College of Music.
Berkleemusic Radio Russell Hoffmann
Listen to our students music.
● Windows 98/2000/NT/Me/XP
Assistant Professor of
● CD-ROM drive
Piano at Berklee and the
UCEA Award Winner ● 64MB RAM minimum, 128MB RAM recommended
author of workbooks on
Voted best online course. ● 20 MB hard drive space recommended keyboard comping,
ensemble performance.
Register Hardware Requirements: Mac Users
Show More Course Faculty
Sign up for free today. ● OS 9 or later
● CD-ROM drive Course Preview
Tell a Friend 64MB RAM minimum, 128MB RAM recommended
● “Having this fundamental
Share the online experience.
● 20 MB hard drive space recommended knowledge allows you to better
understand basic musical
concepts,” Schmeling says. “It
allows you to converse with other
What You Should Know musicians and communicate
through written music. It’s all
● Syllabus about musical literacy.” Read
● Requirements for Music Theory 101 more

Ready to Enroll? Student Comments

“Music Theory 101 gave me a
● Yes, I'm ready to enroll solid foundation in basic music
● I'm interested and have a few questions 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 - 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
Course Info
- Credits: 3
● Pulse - Duration: 12 weeks
● Meter - Catalog #: BME-101
Syllabus
● Notes
Requirements
● Rhythmic Notation Activities

Certificate Info
Lesson 2: Rhythm Part II
- Total credits: 24
- Duration: 8 courses
Certificate Programs ● Eighth Notes - Tuition: $7960
- Registration fee: $150
● Beaming, Dots, and Ties
Online Courses What is a certificate?
● Rhythmic Notation Tips
● Rhythmic Dictation Activity
Explore the School ● Rhythmic Notation Activity Course Faculty
Our Faculty Paul Schmeling Master
Lesson 3: Pitch Notation pianist, interpreter,
Our Students improviser and arranger,
recently retired as chair
View a Sample Course ● ABCs of Pitch Notation of Berklee's piano
● Treble Clef Notes department.
Financial Aid Debbie Cavalier Dean of
● Bass Clef Notes
● Grand Staff Continuing Education at
● Octaves Berklee College of Music.
Berkleemusic Radio ● Accidentals: Sharps, Flats, and Naturals Russell Hoffmann
Listen to our students music. Assistant Professor of
● Enharmonics
Piano at Berklee and the
UCEA Award Winner author of workbooks on
Voted best online course. Lesson 4: Major Scales keyboard comping,
ensemble performance.
Register Show More Course Faculty
Sign up for free today. ● Half Steps and Whole Steps
● Chromatic Scales Course Preview
Tell a Friend Whole Tone Scales
●
“Having this fundamental
Share the online experience. Major Scales
● knowledge allows you to better
● Other Major Scales understand basic musical
● Key Signatures concepts,” Schmeling says. “It
● Scales and Key Signatures allows you to converse with other
musicians and communicate
through written music. It’s all
Lesson 5: Minor Scales about musical literacy.” Read
more
● The Minor Scale Sound
● The Relative Major/Minor Relationship Student Comments
● Parallel Minor “Music Theory 101 gave me a
● Harmonic Minor solid foundation in basic music
● Melodic Minor theory and demystified a lot of
● The Descending Melodic Minor Scale musical terms and ideas that I
always had had trouble with
● The Real Melodic Minor Scale
trying to learn on my own.” –D.
● Minor Scale Key Signatures Somerville

Lesson 6: Intervals

● Interval Number Names

● Interval Sound
● Unison
● Perfect and Major Intervals
● Major vs. Minor Intervals

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Berkleemusic - Music Theory 101 - Syllabus

● 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

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