Gospel Music for Keyboard: Blues Chord Tensions & the Dominant 7th Chord | Piano

Uploaded January 2025 | Updated September 2026, 3 weeks ago

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In this video from Berklee Online’s Gospel Music for Keyboard course, instructor Mark Copeland discusses the music theory behind the blues present in gospel music. He explores the dominant 7th chord (degrees 1, 3, 5, and b7) and demonstrates its available tensions—9, b9, #9, #11, 13, and b13—by playing variations of C7 to highlight how these tensions alter the chord's sound.
Copeland—who wrote this course with Dennis Montgomery—demonstrates how tensions can be added by playing different variations of C7 on the keyboard and using several tension combinations that cause the chord to sound slightly different. Copeland also explains the role of tritones (an augmented 4th above the root) and challenges you to do an exercise involving the major pentatonic scale, another important scale in gospel music that commonly tags along with the gospel bass line.

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ABOUT MARK COPELAND:
Mark Copeland is a pianist, organist, keyboardist, music producer, composer, arranger, songwriter, and educator. Versatile in all forms of contemporary music, he is a graduate of the Baltimore School for the Arts and a graduate of Berklee College of Music, where he is currently a professor in the Ensemble department. Mark has played for and shared the stage with numerous artists, such as Yolanda Adams, Brian McKnight, Jeffrey Osborne, Kenny Lattimore, Michelle Brooks-Thompson, Walter Beasley, Gerald Albright, Kirk Whalum, and Elan Trotman, and more.

ABOUT DENNIS MONTGOMERY:
By the time Dennis Montgomery III was nine, he was playing B3 organ in Baptist churches in his hometown of Shreveport, Louisiana. He began his time at Berklee as a student in 1983, and is currently a full professor as well as the director of Berklee’s Reverence Gospel Choir, which has included students from Japan, Greece, Israel, Lebanon, Taiwan, Australia, Canada, and a number of European and Scandinavian nations among its members. Having worked with the choir for more than three decades, Montgomery has directed such students as Paula Cole, Lalah Hathaway, and Susan Tedeschi.

About Berklee Online:
Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today:
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Mark Copeland | Dennis Montgomery | Gospel Music for Keyboard | Berklee Online |Blues Music in Gospel | Blues | Chord Tensions | Piano Techniques | Dominant 7th | Tritones | Available Tensions | Pentatonic Scale| Blues Scale | 12- bar Blues | Simple Blues | Jazz Blues | Berklee’s Reverence Gospel Choir | Yolanda Adams | Brian McKnight | Jeffrey Osborne | Kenny Lattimore | Michelle Brooks-Thompson | Walter Beasley | Gerald Albright | Kirk Whalum | Elan Trotman | Paula Cole | Lalah Hathaway | Susan Tedeschi

$Gospel Music for Keyboard: Blues Chord Tensions & the Dominant 7th Chord | Piano | Berklee Online Download Your Free Piano Handbook Now: https://berkonl.in/3DBqBNx Study Piano Online with Berklee: https://berkonl.in/3JCFsLy In this video from Berklee Online’s Gospel Music for Keyboard course, instructor Mark Copeland discusses the music theory behind the blues present in gospel music. He explores the dominant 7th chord (degrees 1, 3, 5, and b7) and demonstrates its available tensions—9, b9, #9, #11, 13, and b13—by playing variations of C7 to highlight how these tensions alter the chords sound. Copeland—who wrote this course with Dennis Montgomery—demonstrates how tensions can be added by playing different variations of C7 on the keyboard and using several tension combinations that cause the chord to sound slightly different. Copeland also explains the role of tritones (an augmented 4th above the root) and challenges you to do an exercise involving the major pentatonic scale, another important scale in gospel music that commonly tags along with the gospel bass line. Learn more about this course: https://berkonl.in/3PdL7ZP ABOUT MARK COPELAND: Mark Copeland is a pianist, organist, keyboardist, music producer, composer, arranger, songwriter, and educator. Versatile in all forms of contemporary music, he is a graduate of the Baltimore School for the Arts and a graduate of Berklee College of Music, where he is currently a professor in the Ensemble department. Mark has played for and shared the stage with numerous artists, such as Yolanda Adams, Brian McKnight, Jeffrey Osborne, Kenny Lattimore, Michelle Brooks-Thompson, Walter Beasley, Gerald Albright, Kirk Whalum, and Elan Trotman, and more. ABOUT DENNIS MONTGOMERY: By the time Dennis Montgomery III was nine, he was playing B3 organ in Baptist churches in his hometown of Shreveport, Louisiana. He began his time at Berklee as a student in 1983, and is currently a full professor as well as the director of Berklee’s Reverence Gospel Choir, which has included students from Japan, Greece, Israel, Lebanon, Taiwan, Australia, Canada, and a number of European and Scandinavian nations among its members. Having worked with the choir for more than three decades, Montgomery has directed such students as Paula Cole, Lalah Hathaway, and Susan Tedeschi. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Mark Copeland | Dennis Montgomery | Gospel Music for Keyboard | Berklee Online |Blues Music in Gospel | Blues | Chord Tensions | Piano Techniques | Dominant 7th | Tritones | Available Tensions | Pentatonic Scale| Blues Scale | 12- bar Blues | Simple Blues | Jazz Blues | Berklee’s Reverence Gospel Choir | Yolanda Adams | Brian McKnight | Jeffrey Osborne | Kenny Lattimore | Michelle Brooks-Thompson | Walter Beasley | Gerald Albright | Kirk Whalum | Elan Trotman | Paula Cole | Lalah Hathaway | Susan Tedeschi$ $Music & Neuroscience: Cultural Differences (and Similarities!) (Lesson 2) | Susan Rogers 11/26 Access Free Music Resources: https://berkonl.in/3HPNkYL In these lessons from Berklee Online’s Music and Neuroscience course, Susan Rogers explores how your brain processes music—and why it sparks powerful emotional responses. By understanding how music evokes emotion, musicians can connect more meaningfully with their audience while also enriching their own appreciation of the craft. Our brains have different structures that receive signals from the nervous system, identifying speech, sound, and rhythm. Rogers explains how when we sing or listen to a song we like, the chemical reactions in our brain release dopamine, encouraging us to keep listening. The 26 videos of this course reveal why we like certain songs by analyzing perception across musicians and non-musicians, cultural influences, metrical structures, and tonality. All of these factors show that every emotional response is unique, as it also depends on internal and external conditions such as when (and with whom!) you are listening. Rogers tells musicians that our nervous system enjoys a balance between familiarity and novelty, explaining that pop music and hit songs tend to be liked the most because they generally contain a familiar aspect along with an innovative element. Music not only causes emotional reactions, but also automatic physiological responses such as chills, which are often correlated with unexpected elements inside a song. Rogers says that we are most likely to like a song when it meets our expectations, as our brains like to anticipate melodies or rhythms based on our memory of past songs. When we like a song, our brain creates a template of the type of music we tend to like, which we remember each time we listen to something new. This course emphasizes that music is used for bonding and can be an identification of culture and identity, providing a sense of belonging. With these teachings, Rogers hopes to help musicians deepen their appreciation for music and inspire them to innovate. Watch All of the Videos in This Series: https://berkonl.in/3UBLBMh ABOUT SUSAN ROGERS: Susan Rogers holds a Doctorate in Psychology from McGill University (2010), where she studied music cognition and psychoacoustics under researchers Daniel Levitin and Stephen McAdams. Her research focuses on auditory memory, the perception of musical signals, and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women known for her work as a record producer, engineer, mixer, and audio electronics technician. Career highlights include five years (1983-1987) as staff engineer for Prince, producing hit singles for diverse artists such as Barenaked Ladies, David Byrne, Robben Ford, Jeff Black, and Rusted Root, mixing hit singles for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell, and engineering for a host more. Susan is a professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012, she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division. In tandem with business partner and former student Matthew McArthur (Berklee ’10), Susan launched Boston’s first not-for-profit recording studio, The Record Company, to offer low-cost recording facilities to area musicians and free music technology instruction to area teens. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music and Neuroscience | Musical Taste | Dopamine Reward System | Anhedonia | Emotional Responses to Music | Listener Profile | Cultural Differences in Music | Tonality | Metrical Structure | Rhythm and Groove | Prediction and Anticipation | Expectancy Violation | Sad Songs | Reminiscence Bump | Mind Wandering | Default Network | Emotional Contagion | Chills Response | Musical Memory | Familiarity and Novelty | Authenticity in Music | Realism vs. Abstraction | Consonance and Dissonance | Susan Rogers | Berklee Online | Berklee College of Music | Music Perception and Cognition Laboratory | Daniel Levitin | Stephen McAdams | Prince | Barenaked Ladies | David Byrne | Robben Ford | Jeff Black | Rusted Root | Tricky | Michael Penn | Toad the Wet Sprocket | Tevin Campbell | The Record Company | Matthew McArthur$ $Ableton Live MIDI Transform Tools: Time Warp | Music Production | Berklee Online | Erin Barra Download Your Free Music Production Handbook Now: https://berkonl.in/3JBxeTK Earn Your Music Production Degree Online with Berklee: https://berkonl.in/3DEnKDE In this video from Berklee Online’s Ableton Live Fundamentals course, author Erin Barra walks you through the time warp tool. In Ableton Live you have an array of what are called MIDI transform tools, which (wait for it) transform your MIDI tracks. These tools include “ornament,” “recombine,” and “time warp.” Let’s continue this exploration with the time warp tool. Time warp allows us to manipulate time in a really fun and creative way, making things pop out of the grid more. For example, you can have a drum groove going, but choose to apply this tool in your hi-hats, making it sound a bit off (time-wise) in comparison to the rest of the beat. You can determine what specific notes and range you want to transform by simply selecting them, and then you can fine tune the transformation settings in order to arrive at your desired results. Learn more about this course: https://berkonl.in/3LAUm4I ABOUT ERIN BARRA: Erin Barra is an educator, songwriter, producer, multi-instrumentalist, and music technology consultant. She is an associate professor in the Songwriting department at Berklee College of Music and is one of the leading product specialists for Ableton. She works with artists and bands looking to integrate laptops and digital technologies into their writing, production, and stage setups, and has developed and taught several music technology curriculums. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Ableton Live | Music Production | MIDI Transform Tools | Time Warp | Ableton Tips | Erin Barra | Music Producer | Recording Techniques | Audio Editing | Berklee Online$ $Keyboard Techniques for Songwriters: Voice Leading & Drones on Piano | Bonnie Hayes | Sarah Brindell Download Your Free Piano Handbook Now: https://berkonl.in/3DBqBNx Study Piano Online with Berklee: https://berkonl.in/3JCFsLy In this video from Keyboard Techniques for Songwriters, a Berklee Online course co-written by Sarah Brindell and Bonnie Hayes, the two instructors sit at a piano and demonstrate accessible, creative ways to build chord progressions and accompany yourself as a songwriter. They explore the concept of voice leading—moving smoothly between chords by keeping shared tones—and show how this approach can simplify hand movement and support vocal performance. Bonnie also introduces drone accompaniment, a powerful technique where stable tones (like perfect 5ths) remain constant in one hand while the other moves through chord roots. You’ll also learn how to build broken drones, double notes, create pedal points, and even experiment with chromatic notes outside the key. These techniques not only open up fresh harmonic textures, but also make it easier to sing and play simultaneously—even for beginners. Learn more about this course: https://berkonl.in/4lIomvQ ABOUT BONNIE HAYES Bonnie Hayes is the former chair of Berklee’s Songwriting department and program director of the Berklee Online Master of Arts in Songwriting program. She has more than 35 years of experience as an educator, songwriter, producer, performer, and recording artist. During her career, she has been signed to five record deals and five writing deals, and toured as a side musician with Billy Idol and Cris Williamson. She has written songs for Bonnie Raitt, Cher, Bette Midler, David Crosby, Robert Cray, Adam Ant, and Booker T. & the MG’s, and produced more than 40 records. She designed and implemented the youth program for the Blue Bear School of Music in San Francisco, and has taught piano, guitar, theory, songwriting, and composition to thousands of students at institutions throughout the US. ABOUT SARAH BRINDELL Sarah Brindell is a songwriter, arranger, producer, musician, and associate professor at Berklee College of Music. With touring credits around the world, she has shared the stage and recorded with many renowned artists including Norah Jones, Carole King, and Raul Midon. Her original songs can be heard on many television shows including MTV’s “Made.” She was a finalist in the Song of the Year contest as part of VH1’s Save the Music Foundation, as well as the Billboard World Song Contest. A Summa Cum Laude graduate from Boston University, she holds a Masters degree in Music Education, and teaches courses in songwriting, harmony, ear training, arranging, and stage performance. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Keyboard Techniques for Songwriters | Piano | Songwriting | Voice Leading | Drones | Bonnie Hayes | Sarah Brindell | Bonnie Raitt | Billy Idol | Cris Williamson | Cher | Norah Jones | Carole King | Berklee Online$

Singers: How to Use Stage Blocking Effectively | Art of Performing & Engaging an Audience | Berklee

$Time and Rhythm: Notating Note Values | Quarter Note | Eighth Note | Sixteenth Note | Subdivisions Download Your Free Music Theory Handbook: https://berkonl.in/40qs0jB Study Music Theory Online with Berklee: https://berkonl.in/3YimTjJ When counting a rhythm out loud, there is a specific language to be used to ascribe eighth and sixteenth notes. You may have already learned to say “1, 2, 3, 4 ” when counting the quarter-note pulse of a groove (assuming the particular music you’re counting is in 4/4), but in this video from Berklee Online’s Time and Rhythm course, instructor Matt Sharrock shows you how to count out remaining subdivisions when you want to translate a syllable grid into a notation grid. Learn more about this course: https://berkonl.in/3vXwsvq ABOUT MATT SHARROCK: Matt Sharrock is a versatile marimbist, percussionist, and conductor who tirelessly champions the music of living composers. As half of the bass clarinet/marimba duo Transient Canvas, they have commissioned over 80 pieces while touring extensively in the United States and abroad. From 2013-2020 they served as music director and conductor for Equilibrium and are a founding member of the mixed quartet Hinge and the Boston Percussion Group. In demand as a chamber musician, Matt is the resident percussionist with the Chameleon Arts Ensemble of Boston and has performed with the Lydian String Quartet, Boston Musica Viva, Sound Icon, the Lorelei Ensemble, and Dinosaur Annex, among others. Matt has recorded on Beauport Classical, BMOP/sound, Innova, Navona, New Focus, and Ravello record labels. They teach music theory and liberal arts at the Boston Conservatory at Berklee and Berklee College of Music. Matt proudly endorses Marimba One and Encore Mallets. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Time and Rhythm | Subdivisions | Quarter Notes | Sixteenth Notes | Eighth Notes | Syllable Grid | Matt Sharrock | Transient Canvas | Marimba | Simple Meter | Berklee Online | Berklee College of Music | Boston Conservatory$ $Music Theory Fundamentals: Writing Noteheads on the Staff | Musical Calligraphy | Berklee Online Download Your Free Music Theory Handbook: https://berkonl.in/40qs0jB Study Music Theory Online with Berklee: https://berkonl.in/3YimTjJ In this excerpt from Berklee Online’s Music Theory Fundamentals course, instructor Amy Bellamy discusses noteheads. When writing down notes on a piece of staff paper, there are certain rules you must follow. First of all, the noteheads are oval-shaped, and not circular. There are basically two different places where you can place your note; in a line or in a space. You should be attentive to not overlap a notehead’s space with another space, or a line with another line. Make sure the line slices directly through the center of the notehead and the shape of the note occupies roughly a half a space above and below the line. Be careful to position the notehead exactly on the intended line, making sure the note is evenly spaced on either side above and below the line. Musical calligraphy is an art of its own and it may take a while to perfect it, just like any other area of music learning. Learn more about this course: https://berkonl.in/4978Vqw ABOUT AMY BELLAMY: Keyboardist Amy Bellamy has performed with Chaka Khan (for President Bill Clinton), G Love and the Juice, The Nth Power, Oleta Adams, Terri Lyne Carrington, Res, Club D’elf, Cody Chesnutt, the Harlem Gospel Choir, Akrobatik, and more. Additionally, she has shared countless bills with major artists such as Parliament Funkadelic, Morris Day and the Time, Bootsy Collins, Chick Corea and more. As a classical accompanist, Bellamy has appeared on multiple European tours with notable performances at Notre Dame Cathedral in Paris, France and St Mark’s Basilica in Venice, Italy. Along with her husband, bassist Aaron Bellamy (The A-Beez) have led a well-established Tuesday night residency at Boston’s beloved Wally’s Jazz Café for more than two decades. The A-Beez released their debut album “Never Going Back” in 2015, and their second album, “Say Goodbye” was released in 2018. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music Theory Fundamentals | Noteheads | Musical Calligraphy | Keyboards | Piano | Amy Bellamy | Chaka Khan | President Bill Clinton | G Love and the Juice | The Nth Power | Oleta Adams | Terri Lyne Carrington | Res | Club D’elf | Cody Chesnutt | Harlem Gospel Choir | Akrobatik | Parliament Funkadelic | George Clinton | Morris Day | The Time | Bootsy Collins | Chick Corea | Berklee Online | Berklee College of Music$ $AI in Music: Composition, Production & Analysis: AI Mastering with EMA (Expert Mastering Assistant) Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s AI in Music: Composition, Production, and Analysis course, instructor Dr. Carlos Arana provides an overview of the Expert Mastering Assistant (EMA), an AI tool that automates the mastering process. Dr. Arana explains how EMA uses unsupervised learning to analyze large datasets of songs, identifying patterns in rhythm, spectral content, and dynamics to group similar tracks into style-based clusters. He walks through how the system extracts detailed audio features (such as waveform data, frequency spectrum, tempo, and stereo characteristics) and uses these to compare new tracks against learned profiles. Based on these comparisons, EMA applies processing decisions like EQ shaping and loudness adjustments that align with the identified genre or style. Dr. Arana also highlights how EMA functions as a rule-based system layered on top of machine learning, ultimately serving as a creative support tool that helps guide mastering decisions while leaving room for human judgment. Learn more about this course: https://berkonl.in/4veg8AG ABOUT CARLOS ARANA: Carlos Arana is a guitarist, producer, and researcher whose work bridges Latin American music traditions and emerging technologies such as machine learning and artificial intelligence. As a guitarist, arranger, and musical director, he has worked and recorded with artists from around the world, including legendary bossa nova singer Maria Creuza, whose band he was a member of. Arana is also a leading voice in the application of AI to music. He has the written Berklee Online courses AI in Music: Composition, Production, and Analysis and AI for Music and Audio. Dr. Arana holds a PhD from the University of Buenos Aires (UBA-UNLZ), where his research focused on deep learning and generative neural networks in music education. His work spans signal processing, music information retrieval, and generative systems, with a focus on helping musicians understand and engage critically with rapidly evolving technologies. In addition to his academic and creative work, Dr. Arana has edited books for Hal Leonard and Warner Bros. Publications (Alfred), and has been invited to speak at conferences and seminars at institutions such as MIT and UC Berkeley. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline AI in Music | Artificial Intelligence | Dr. Carlos Arana | Maria Creuza | Expert Mastering Assistant | EMA | Unsupervised Learning | Mastering | AI Mastering | Music Clustering | Audio Feature Extraction | Automated Mastering | EQ and Loudness Processing | Machine Learning In Music | Audio Analysis | Genre-Based Processing$ $Music & Neuroscience: The Reminiscence Bump & Why We Still Love Our Teenage Songs (Lesson 4) 22/26 Access Free Music Resources: https://berkonl.in/3HPNkYL In these lessons from Berklee Online’s Music and Neuroscience course, Susan Rogers explores how your brain processes music—and why it sparks powerful emotional responses. By understanding how music evokes emotion, musicians can connect more meaningfully with their audience while also enriching their own appreciation of the craft. Our brains have different structures that receive signals from the nervous system, identifying speech, sound, and rhythm. Rogers explains how when we sing or listen to a song we like, the chemical reactions in our brain release dopamine, encouraging us to keep listening. The 26 videos of this course reveal why we like certain songs by analyzing perception across musicians and non-musicians, cultural influences, metrical structures, and tonality. All of these factors show that every emotional response is unique, as it also depends on internal and external conditions such as when (and with whom!) you are listening. Rogers tells musicians that our nervous system enjoys a balance between familiarity and novelty, explaining that pop music and hit songs tend to be liked the most because they generally contain a familiar aspect along with an innovative element. Music not only causes emotional reactions, but also automatic physiological responses such as chills, which are often correlated with unexpected elements inside a song. Rogers says that we are most likely to like a song when it meets our expectations, as our brains like to anticipate melodies or rhythms based on our memory of past songs. When we like a song, our brain creates a template of the type of music we tend to like, which we remember each time we listen to something new. This course emphasizes that music is used for bonding and can be an identification of culture and identity, providing a sense of belonging. With these teachings, Rogers hopes to help musicians deepen their appreciation for music and inspire them to innovate. Watch All of the Videos in This Series: https://berkonl.in/3UBLBMh ABOUT SUSAN ROGERS: Susan Rogers holds a Doctorate in Psychology from McGill University (2010), where she studied music cognition and psychoacoustics under researchers Daniel Levitin and Stephen McAdams. Her research focuses on auditory memory, the perception of musical signals, and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women known for her work as a record producer, engineer, mixer, and audio electronics technician. Career highlights include five years (1983-1987) as staff engineer for Prince, producing hit singles for diverse artists such as Barenaked Ladies, David Byrne, Robben Ford, Jeff Black, and Rusted Root, mixing hit singles for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell, and engineering for a host more. Susan is a professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012, she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division. In tandem with business partner and former student Matthew McArthur (Berklee ’10), Susan launched Boston’s first not-for-profit recording studio, The Record Company, to offer low-cost recording facilities to area musicians and free music technology instruction to area teens. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music and Neuroscience | Musical Taste | Dopamine Reward System | Anhedonia | Emotional Responses to Music | Listener Profile | Cultural Differences in Music | Tonality | Metrical Structure | Rhythm and Groove | Prediction and Anticipation | Expectancy Violation | Sad Songs | Reminiscence Bump | Mind Wandering | Default Network | Emotional Contagion | Chills Response | Musical Memory | Familiarity and Novelty | Authenticity in Music | Realism vs. Abstraction | Consonance and Dissonance | Susan Rogers | Berklee Online | Berklee College of Music | Music Perception and Cognition Laboratory | Daniel Levitin | Stephen McAdams | Prince | Barenaked Ladies | David Byrne | Robben Ford | Jeff Black | Rusted Root | Tricky | Michael Penn | Toad the Wet Sprocket | Tevin Campbell | The Record Company | Matthew McArthur$ $Practice Techniques for Musicians | Practicing Reading Music Backwards | Barbara LaFitte | Berklee Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s Practicing Techniques for Musicians course, instructor Barbara LaFitte shares a practicing technique that involves reading the music sheet backwards, starting with the first bar, moving on to the second-to-last bar, and so on. LaFitte explains that you should play note-by-note backwards and keep adding a new note as you go, a strategy that relies on the belief that your brain becomes familiarized with the last motifs as you play them over and over again, so it is easier to add the first few notes at the start. By doing this, you can learn any piece faster, and it is a good strategy to understand how to play more complex pieces. Learn more about this course: https://berkonl.in/4fUYJ7c ABOUT BARBARA LAFITTE: Barbara LaFitte held the English Horn position in the Boston Pops Esplanade Orchestra from 1994-2020, where she worked with John Williams and Keith Lockhart. She was also the principal oboist in the Boston Ballet Orchestra, the Boston Classical Orchestra, and the Rhode Island Philharmonic, as well as a member of the Boston Modern Orchestra Project. She can be heard on two recordings nominated for Grammy Awards: Boston Modern Orchestra Project’s recording of Stephen Mackey’s “Dreamhouse,” and Danilo Perez’s highly acclaimed jazz recording, “Providencia.” LaFitte is also the oboist on the theme music for the PBS program, “Frontline.” She has been a professor on the faculty of Berklee College of Music in Boston since 1994. She has also coached contemporary chamber ensembles and taught Woodwind Pedagogy at the Boston Conservatory at Berklee. LaFitte presents masterclasses about topics such as circular breathing, audition preparation, Nicolas Slonimsky, and more. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Barbara LaFitte | Practicing Techniques for Musicians | Oboist | Boston Ballet Orchestra | English Horn | Boston Pops Esplanade Orchestra | John Williams | Keith Lockhart | Grammy Awards | Boston Modern Orchestra Project | Stephen Mackey’s Dreamhouse | Danilo Perez | Providencia | Practicing Backwards$ $Variations on Sun Salutation: Yoga, Breath & Movement | Wellness for Artists with Jennifer Caraluzzi Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from the Berklee Online course Wellness for Artists: Music, Movement, and Mindfulness, instructor Jennifer Caraluzzi teaches you some variations of Sun Salutation, a series of specific yoga movements. For this video, Caraluzzi invited Professor Craig Juricka to demonstrate the same yoga poses in two different bodies, highlighting how they can look and feel different to everybody. For the Sun Salutation, you can start in a comfortable seat, breathing, and softening the muscles of your body. Then, you can move on to the “table top” position and start doing some “cat cows.” Push backward, entering into a “child’s pose,” where you can relax and take a couple of breaths. Then, move to the “table top” position again to transition to a “downward-facing dog” and stay there for a few breaths. On the “exhale” make your way to the top of the mat, towards a forward fold and, on your “inhale,” transition to “mountain pose.” For this series, use your exhale to forward fold again and an inhale to “halfway lift.” After your last “forward fold,” transition into a plank, then down to the belly, into a “baby cobra,” lifting your head and chest from the ground and looking forward. Use your inhale to look up and your exhale to look down. From “cobra,” transition to “downward-dog” to “mountain pose” to “Warrior I.” Caraluzzi explains that you can repeat this sequence as many times as you want, and then go back to a comfortable position or “corpse pose” to finish with deep breaths. Learn more about this course: https://berkonl.in/4ldN5s5 ABOUT JENNIFER CARALUZZI: Jennifer Caraluzzi is a 500-hour certified yoga instructor and an Integrative Nutrition Health Coach certified through the Institute for Integrative Health. She is dedicated to educating musicians on the importance of mind-body awareness and caring for their whole instrument. With more than 15 years of experience teaching and coaching musicians in voice, wellness, and career development, she holds a Master of Music in Vocal Performance from New England Conservatory and a joint MBA in Music Business from Berklee College of Music and Southern New Hampshire University. Caraluzzi has worked for Berklee College of Music since 2019 and Berklee Online since 2021. She currently serves as Director of Academic Operations and Student Success at Berklee NYC. As a performer, Caraluzzi is an award-winning vocalist known for her versatility across musical genres. She has appeared with Opera Theatre St. Louis, White Snake Projects, Boston Opera Collaborative, and regularly performs with the Boston Pops. Her stage roles span from Laurie in “Oklahoma,” Marty in “Grease,” and Eliza in “My Fair Lady,” to operatic favorites such as Cunegonde in “Candide,” Susanna in “Le Nozze di Figaro,” and Zerlina in “Don Giovanni.” She is featured in the title role on the critically acclaimed Centaur Records release of Seymour Barab’s children’s opera, “Little Red Riding Hood.” About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Wellness for Artists | Berklee Online | Intro to Yoga | Yoga for Musicians | Mindfulness | Movement | Music | Jennifer Caraluzzi | Wellness and Artistic Expression | Sun Salutation | Craig Juricka | Foundations of Yoga | Table Top | Cat Cow | Child’s Pose | Mountain Pose | Tree Pose | Plank | Corpse Pose | Downward Dog | Baby Cobra | White Snake Projects | Boston Opera Collaborative | Boston Pops | My Fair Lady | Cunegonde | Candide | Le Nozze di Figaro | Zerlina | Don Giovanni | Centaur Records | Seymour Barab | Little Red Riding Hood$ $Film Scoring 101: Who’s Who on the Movie Set (Director, Producer, Cinematographer, Editor, etc.) Download Your Free Composing for Film, TV and Games Handbook: https://berkonl.in/3wOX4Mw Earn Your Music Composition Degree Online: https://berkonl.in/3X25RoS In this video from the Berklee Online course Film Scoring 101, instructor Patrick Kirst details how each film has many different departments, each with a specific task, and they all work together like a well-oiled machine. Kirst says knowing your place and being supportive of other responsibilities is key here for a productive environment. You’ll learn the roles of the director, producer, cinematographer, script supervisor, etc. The film production process also goes through three essential phases: Preproduction, Production, and Postproduction, which Kirst also details further in this video. Learn more about this course: https://berkonl.in/3Uei5M3 ABOUT PATRICK KIRST: Patrick Kirst is best known for his work on the Kissing Booth romantic comedy trilogy, which is one of the most successful franchises on the Netflix platform. In 2007, Kirst became an integral part of Aaron Zigman’s team, where he earned orchestration and additional music credits on top-grossing films such as “The Proposal,” “The Ugly Truth,” “Sex and the City: The Movie,” “Mr. Magorium’s Wonder Emporium,” and more. Kirst’s other composing credits include Disney’s first nature documentary, “Earth,” Seaworld’s documentary-style theme park show “Orca Encounter,” the Swedish survival drama “Breaking Surface,” the political documentary “Welcome to Pine Lake” (CBSN), the opioid crime drama “Inherit the Viper” (Lionsgate), and the Netflix crime series “Totenfrau.” About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Film Scoring 101 | Movie Set | Director | Producer | Cinematographer | Script Supervisor | Patrick Kirst | Kissing Booth | Netflix | Sex and the City | Berklee Online$