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  • Acknowledgements
  • Preface
  • About This Book: Background of the Proficiency at Berklee College of Music

Part I. PROFICIENCY MATERIALS

  • Chapter 1. Super-Fundamentals
  • Chapter 2. Scales
  • Chapter 3. Dyads
  • Chapter 4. Triads
  • Chapter 5. Four-Part Chords

Part II. APPLICATIONS

  • Chapter 6. Reading
  • Chapter 7. Studies
  • Study 1. “The Breath, Qigong, and Musical Performance” by Joe Rogers, Assistant Professor
  • Study 2. “Tone Study/Quartal Etude” (In A Melodic Minor) by Kim Perlak, Chair
  • Study 3. “Rhythmic Subdivision Workout” by David Tronzo, Professor
  • Study 4. “Introduction to Funk Guitar” (A Rhythm Study) by Jeffrey Lockhart, Professor
  • Study 5. “Dyadic Etude” by David Tronzo, Professor
  • Study 6. “Modular Modes Study” by Abby Aronson Zocher, Professor
  • Study 7. “C Minor Jazz/Blues, Melodic Minor” by Curt Shumate, Associate Professor
  • Study 8. “Transylvania Requiem” (Harmonic Minor Etude) by Joe Stump, Professor
  • Study 9. “Graffiti Cemetery” (Harmonic Major Groove) by David Fluczynski, Professor
  • Study 10. “Chromatic Time” (Chromatic Scale) by Sheryl Bailey, Assistant Chair
  • Study 11: “Whole Lotta Tone” (Whole Tone Scale Study) by Rick Peckham, Professor
  • Study 12: “Diminished Scale Etude” by Rick Peckham, Professor
  • Study 13 “Closed-Voiced Triads” by Jim Kelly, Professor
  • Study 14: “General Sense of Well-Being” (Fun Uses for Open-Voiced Arpeggios) by Jon Finn, Professor
  • Study 15: “Three-Octave Triad Arpeggios Strategies” by John Baboian, Professor
  • Study 16. “Four-Part Chord Inversions Etude” by Larry Balone, Chair Emeritus
  • Study 17. “Melodic Etude” by Lauren Passarelli, Professor
  • Study 18. “Funky Albert” (Playing Dominant Seventh Arpeggios over the Blues) by Mike Williams, Professor
  • About the Author

Berklee Guitar Theory

Berklee Guitar Theory

New
edited by Dr. Kim Perlak

SKU: 49-276326

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Experience the Elderly Difference
Become a more musical guitar player! This book will help you learn and use chords, scales, and other building blocks of music from a guitarist's perspective. It applies concepts of music theory directly to your instrument, using the time-honored teaching approaches of the Berklee Guitar Department. These applications facilitate creative, expressive playing and writing in all styles and directly map to the Berklee Guitar Department proficiency evaluations. Players at all levels will find a clear, organized approach to the materials and musical examples in a variety of styles, provided by Berklee's guitar faculty.

You'll learn to: Master the fingerboard by understanding how strings and frets relate to scales, intervals, and chords; Understand and use the most important types of scales and modes; Construct chords and voicing possibilities based on the essential building blocks of harmony; Choose chord voicings that are ergonomic, intuitive, and expressive for every unique playing situation; and more.
More Details

More Details

  • Acknowledgements
  • Preface
  • About This Book: Background of the Proficiency at Berklee College of Music

Part I. PROFICIENCY MATERIALS

  • Chapter 1. Super-Fundamentals
  • Chapter 2. Scales
  • Chapter 3. Dyads
  • Chapter 4. Triads
  • Chapter 5. Four-Part Chords

Part II. APPLICATIONS

  • Chapter 6. Reading
  • Chapter 7. Studies
  • Study 1. “The Breath, Qigong, and Musical Performance” by Joe Rogers, Assistant Professor
  • Study 2. “Tone Study/Quartal Etude” (In A Melodic Minor) by Kim Perlak, Chair
  • Study 3. “Rhythmic Subdivision Workout” by David Tronzo, Professor
  • Study 4. “Introduction to Funk Guitar” (A Rhythm Study) by Jeffrey Lockhart, Professor
  • Study 5. “Dyadic Etude” by David Tronzo, Professor
  • Study 6. “Modular Modes Study” by Abby Aronson Zocher, Professor
  • Study 7. “C Minor Jazz/Blues, Melodic Minor” by Curt Shumate, Associate Professor
  • Study 8. “Transylvania Requiem” (Harmonic Minor Etude) by Joe Stump, Professor
  • Study 9. “Graffiti Cemetery” (Harmonic Major Groove) by David Fluczynski, Professor
  • Study 10. “Chromatic Time” (Chromatic Scale) by Sheryl Bailey, Assistant Chair
  • Study 11: “Whole Lotta Tone” (Whole Tone Scale Study) by Rick Peckham, Professor
  • Study 12: “Diminished Scale Etude” by Rick Peckham, Professor
  • Study 13 “Closed-Voiced Triads” by Jim Kelly, Professor
  • Study 14: “General Sense of Well-Being” (Fun Uses for Open-Voiced Arpeggios) by Jon Finn, Professor
  • Study 15: “Three-Octave Triad Arpeggios Strategies” by John Baboian, Professor
  • Study 16. “Four-Part Chord Inversions Etude” by Larry Balone, Chair Emeritus
  • Study 17. “Melodic Etude” by Lauren Passarelli, Professor
  • Study 18. “Funky Albert” (Playing Dominant Seventh Arpeggios over the Blues) by Mike Williams, Professor
  • About the Author
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