Practice Techniques for Musicians with Barbara LaFitte: Practicing Improvisation 1

Uploaded January 2025 | Updated September 2026, 2 weeks ago

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In this video from Berklee Online’s Practicing Techniques for Musicians course, instructor Barbara LaFitte teaches you how to effectively incorporate improvisation techniques into the music you play. LaFitte explains how improvisation has existed for as long as music has existed and has been documented as a way to create music as far back as the Baroque era. Without improvisation, says LaFitte, we wouldn’t have cadences. Violinist Clara Rose Chisholm plays a Baroque song that consists of a simple melody, but the chords and harmony change. Through the violinist’s demonstration, LaFitte shows how implementing a simple improvisation technique can make a difference in the piece by adding more originality and different tones.

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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

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Barbara LaFitte | Clara Rose Chisholm | 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 | Improvisation Techniques | Baroque Era | Classical Music | Mozart

$Practice Techniques for Musicians with Barbara LaFitte: Practicing Improvisation 1 | Berklee Online Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s Practicing Techniques for Musicians course, instructor Barbara LaFitte teaches you how to effectively incorporate improvisation techniques into the music you play. LaFitte explains how improvisation has existed for as long as music has existed and has been documented as a way to create music as far back as the Baroque era. Without improvisation, says LaFitte, we wouldn’t have cadences. Violinist Clara Rose Chisholm plays a Baroque song that consists of a simple melody, but the chords and harmony change. Through the violinist’s demonstration, LaFitte shows how implementing a simple improvisation technique can make a difference in the piece by adding more originality and different tones. 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 | Clara Rose Chisholm | 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 | Improvisation Techniques | Baroque Era | Classical Music | Mozart$ $Music & Neuroscience: Dopamine and the Joy of Music (Lesson 1) | Susan Rogers | Berklee 7/26 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$ $Music Production 101: Ableton Live Session View, Clip View, Arrangement View, Device View, Info View 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 the Berklee Online course, Music Production 101, instructor Michael Bierylo teaches you the basics on how to navigate Ableton Live for music production. Bierylo, who wrote this course with David Mash, starts by explaining Abletons different views. In “Session View” two blank MIDI tracks and two blank audio tracks are automatically generated. The “Clip View” displays all MIDI and audio data, which is useful for editing tracks. The “Arrangement View” displays all the recorded data in the order in which it was recorded. “Info View” allows you to see information about the tool your cursor is on, which is useful when you first start using the software. Finally, the “Device View” is the tool that tells you which instrument is being generated by the MIDI. Inside these views at the top, you can find the control bar, which enables you to manage the recording by either looping or pressing playback, and it also shows the tempo and time signature of your project. Bierylo explains that in Ableton Live’s browser you can find a variety of different sounds separated into categories of both instruments and sound effects. Learn more about this course: https://berkonl.in/3EItS0P ABOUT MICHAEL BIERYLO: Michael Bierylo is an electronic musician, guitarist, composer, and sound designer. He has been a faculty member at Berklee College of Music since 1995 and is currently Chair of the Electronic Production and Design department, where he led the development of Berklee’s Electronic Digital Instrument program, the Electronic Performance Minor, and the Creative Coding Minor. Major projects include artist residencies with Suzanne Ciani, Nona Hendryx, Hank Shocklee, Richard Devine, Chagall, Robert Rich, and Kaitlyn Aurelia Smith. With Berklee Online, he has written and teaches music production and music technology courses. ABOUT DAVID MASH: David Mash is a guitarist, composer, producer, synthesist, author, educator, and futurist. He retired in 2017 as Senior Vice President for Innovation, Strategy, and Technology at Berklee College of Music in Boston, where he had worked for more than 40 years. David was the founding chair of Berklee’s Music Synthesis department (now known as Electronic Production and Design). David has collaborated on development and artistic projects with leaders in the multimedia and music industries such as Kodak, Adobe Systems, Digidesign/Avid, Opcode, Kurzweil, Yamaha, Roland, Korg, Softube, Fishman Transducers, Godin Guitars, and many others. 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 Production | Studio Setup | Michael Bierylo | David Mash | Berklee Online | Electronic Production and Design | Electronic Digital Instrument | Electronic Performance | Creative Coding | Music Synthesis | Ableton Live | MIDI | Session View | Clip View | Arrangement View | Device View | Info View | Nona Hendryx | Hank Shocklee$ $Ableton Live: Comping | Merging Multiple Takes | 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 comping feature in Ableton Live. Comping allows you to merge multiple takes into a single, cohesive performance, whether you’re working with MIDI or audio. Starting with how to set up for recording multiple takes, arming tracks, and managing overdubs, Erin then demonstrates how to use take lanes to organize and edit your recordings. You’ll learn how to select the best sections from each take and combine them seamlessly. The video covers essential editing techniques, such as using the grid and slip mode for precise adjustments, and you’ll also explore creative ways to use comping, showing how you can select different sections from various takes to craft unique and polished performances. Finally, you’ll see how to consolidate your final takes into a single clip, simplifying further editing and mixing. 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 | Comping | Grid and Slip | Editing | Mixing | Ableton Tips | Erin Barra | Music Producer | Recording Techniques | Audio Editing | Berklee Online$ $Arranging for Songwriters: Visualizing Your Song Arrangement, Instrumentation, Music Production Download Your Free Songwriting Handbook Now: https://berkonl.in/3wSocKI Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/3wNQbv0 In this video from the Berklee Online course, Arranging for Songwriters: Instrumentation and Production in Songwriting, by Sarah Brindell and Bonnie Hayes, Sarah Brindell provides tips on how to visualize and finalize an arrangement for a song. One of the challenges that comes with writing parts is creating a stylistic unity that ties all these parts together. One way to visualize this unity is by approaching your musical conversation as if it were an actual conversation at a party. The lead vocal would be the popular kid, the one that effortlessly gets the attention of the crowd, while the response part would be the sidekicks, offering affirmation. The main rhythm part can be seen as the vocalist’s date, and the bass and drum might be thought of as the hosts. You can picture all the people gradually leaving while a couple stays and have a conversation quietly, and translate that in your arrangement. Learn more about this course: https://berkonl.in/3X7WeJ3 About Bonnie Hayes and Sarah Brindell: Bonnie Hayes is the program director for Berklee Online’s Master of Arts in Songwriting degree. 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. 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 conducts clinics nationwide and internationally, and continually helps thousands of students to reach their full potential as professional musicians and songwriters. 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 Berklee Online | Online Course | Course Overview | Berklee College of Music | Sarah Brindell | Bonnie Hayes | Billy Idol | Gotye | Kimbra | Bonnie Raitt | Cher | Bette Midler | David Crosby | Robert Cray | Adam Ant | Carole King | Norah Jones | Prosody | Arranging | Song Arrangement | Songwriting | Lyricism | Lyrics | Music Production | Vocals | Rhythm Section | Instruments$ $Applying Scott McCloud’s Six-Step Comic Framework to Digital Storytelling | Lori Landay | Berklee Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from the Berklee Online Digital Storytelling course, Lori Landay teaches how to apply Scott McCloud’s six-step framework to digital storytelling in order to “encite deep emotions in your audience, challenge their way of thinking, or even inspire them to take action.” The six steps first appeared in McCloud’s 1993 book, “Understanding Comics: The Invisible Art.” While the book focuses on the formal aspects of comics, their historical development, and vocabulary, McCloud also provides a foundation for creating and structuring narratives. Known as McCloud’s “Six Steps,” this framework breaks down the storytelling process from inception to execution, ensuring that each element serves the overall narrative goal. The six steps are 1) Idea/purpose: the foundation of the story—its content, ideas, emotions, purposes, or messages; 2) Form: the medium or format the story will take to communicate or express the idea; 3) Idiom: the style, genre, or mood of the story including its aesthetic or audiovisual style; 4) Structure: the composition and structure of the story; 5) Craft: the techniques used to create the story, such as video editing and sound design; and 6) Surface: the final product as it’s received by the audience. In the video Landay explains that by following McCloud’s framework you will be able to create digital stories with deep meaning, a solid structure, and demonstrating skillful craft and polish. Learn more about this course: https://berkonl.in/47HvQsN ABOUT LORI LANDAY: Lori Landay is a professor of cultural studies at Berklee College of Music and an interdisciplinary scholar and new media artist exploring the making of visual meaning in twentieth- and twenty-first-century culture. She is the author of two books, the TV Milestone Series installment of “I Love Lucy” and “Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture,” in addition to articles on topics such as virtual worlds, digital narrative, silent film, and television culture. Her creative work includes animation, graphic design, creative documentary, machinima, interactive virtual art installations, and music video. Landay has been awarded the Dean’s Award for Excellence in the Professional Education Division at Berklee College of Music, a Newbury Comics Faculty Fellowship, and a National Endowment for the Humanities Enduring Questions Grant. She has consulted on and appeared in “Finding Lucy,” an American Masters documentary airing nationally on PBS and internationally. Landay holds a bachelor’s degree from Colby College, master’s degrees in American Studies and English from Boston College and Indiana University, respectively, and a doctoral degree in English and American Studies from Indiana University. 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 Digital Storytelling | Prototyping | Video | Filming | Lori Landay | Scott McCloud | Understanding Comics: The Invisible Art | Six Steps | Lucille Ball$ $Songwriting of Taylor Swift: Using the 5 Senses | Sense-Bound Writing | Berklee | Scarlet Keys Download Your Free Songwriting Handbook Now: https://berkonl.in/3wSocKI Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/3wNQbv0 In this video from the Songwriting of Taylor Swift, a Berklee Online course written and taught by Scarlet Keys, you’ll learn how to incorporate the five senses (see, hear, smell, taste, and touch) into your songwriting to effectively captivate your listeners. It comes from the idea of showing your listeners the message that you are trying to convey rather than telling them, allowing them to experience the emotions your characters are feeling. This technique can be applied by being specific and describing colors, how the objects mentioned feel, smell, or sound. In the Songwriting of Taylor Swift course, Keys discusses some examples of Taylor Swift songs that successfully employ the five senses, like “The Smallest Man Who Ever Lived” from “The Tortured Poets Department.” Learn more about this course: https://berkonl.in/4m0bAJU ABOUT SCARLET KEYS: Scarlet Keys is a professor at Berklee College of Music and a former staff songwriter for Warner Chappell. Keys’s songs have appeared on film and TV and garnered her a gold record. She has collaborated with artists such as Chris Stapleton, Eric Roberson, and Melissa Ferrick. Some of her students have included Lizzy McAlpine, Charlie Puth, Amy Allen, Ingrid Andress, and Betty Who. Keys is the host of the “What’s in a Song” podcast and the author of “The Craft of Songwriting: Music, Meaning, and Emotion.” She also describes herself as a world-class parallel parker. 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 Songwriting of Taylor Swift | The Smallest Man Who Ever Lived | The Tortured Poets Department | Scarlet Keys | Lyric Writing | Creative Songwriting | Warner Chappel | Chris Stapleton | Eric Roberson |Melissa Ferrick | Sam Robins | Berklee Online Lizzy McAlpine | Charlie Puth |Amy Allen |Ingrid Andress | Betty Who | The Craft of songwriting | Music | Emotion$ $Vocal Production for Singers: Tuning Out-of-Tune Voices with Melodyne | Autotune | Pitch Correction Download Your Free Voice Handbook: https://berkonl.in/3wQXG4d Study Voice Online with Berklee: https://berkonl.in/3DEohWa In this video from Berklee Online’s Vocal Production Techniques for Singers course, instructor Stephen Kowalczyk Santoro shows you how to use Melodyne, a tool inside Digital Audio Workstations (DAW) that allows users to edit sounds for tuning. To effectively tune a track you’ll need to ensure that its volume is 0 and insert the Melodyne plug-in by clicking “Insert,” selecting “Audio Units,” and then clicking on “Celemony.” Once the plug-in is selected, users should import the audio on the track by clicking “Transfer,” pressing the spacebar, selecting the section of the track that must be edited, and then pressing on the spacebar again. Once inside the Melodyne plug-in, Kowalczyk Santoro recommends students to click options, “Pitch Grid,” and select “No Snap,” which allows users to move the notes whichever way they like. He also recommends users to leave the “Time Grid” under “Options” in “Active” mode, which will allow the changes to be as smooth as possible. All the tools you need can be found in the toolbar at the top (which you can also get by right-clicking into an empty space). When using the selection tool, a specific note will be highlighted and the tool grid will tell you which lane the note is covering. The different lanes are shown at the left side and they refer to the different pitches displayed chromatically. By moving the selected note up and down, users are able to easily change the pitch of the selected audio. When working with pitch correction, make sure the algorithm is in “Melodic (Standard).” Finally, Kowalczyk Santoro reminds you that inside of your DAW, Melodyne must be placed above any other plug-ins in case you want to bypass them, and to turn off any automation. Once the selected piece of audio has been edited in Melodyne, users will need to turn off any other plug-ins, ensure the volume of the track equals 0, and then import the new audio from Melodyne into the DAW. Learn more about this course: https://berkonl.in/3JOVcLm ABOUT STEVEN KOWALCZYK SANTORO: Steven Kowalczyk Santoro is a singer, composer, producer, and arranger from Massachusetts. Having grown up in a musical family, he started playing the horn, transitioning later to the piano, and writing songs. He became interested in Afro-American music and Jazz, which led him to the University of Massachusetts. He has toured the US and Europe extensively, playing and recording with artists such as Sting, Clarence Penn, Lee Ritenour, Joe Porcaro, John Patitucci, Paula Cole, Chris Botti, among others. Steven is an associate professor at Berklee College of Music, in the Voice Department. 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 Vocal Production for Singers | Pro Tools | DAW | Melodyne | Autotune | Auto-Tune | Pitch Correction | Mics | Mic Techniques | Steven Kowalczyk Santoro | Sting | Clarence Penn | Lee Ritenour | Joe Porcaro | John Patitucci | Paula Cole | Chris Botti | Berklee Online$ $Music & Neuroscience: The Brain’s Song & Dance Connection (Lesson 1) | Susan Rogers | Berklee 6/26 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$ $Artist Management: Marjorie Garcia on What to Look for in an Entertainment Lawyer | Ardie Farhadieh Download Your Free Music Business Handbook Now: https://berkonl.in/3XRrl9n Earn Your Music Business Degree Online with Berklee: https://berkonl.in/3JyAdwb In this video from Berklee Online’s Artist Management course, authored by Ardie Farhadieh, music attorney Marjorie Garcia provides advice on how to find a lawyer that aligns with your music, goals, and personality. The first question to ask: Does this lawyer have the capacity to take you on as a client? If not, the relationship likely won’t work, especially if you’re just starting out in the music industry. It is also important for the lawyer to be familiar with the type of music you make, says Garcia. That way, they will have an appropriate frame of reference and be able to help you with the type of legal issues you might experience. Learn more about this course: https://berkonl.in/3LIroDL ABOUT ARDIE FARHADIEH: Ardie Farhadieh began at the Windish Agency, overseeing logistics for 100+ DJs/artists. He then led marketing at The Billions Corporation, handling corporate/branding/sponsorships for Arcade Fire, Mumford & Sons, Bon Iver, St. Vincent, and more, and helped build Spotify’s Fans First presale. He founded Wick Management, developing Marian Hill to platinum success, earning Billboard’s 40 Under 40. Now at Split Second Management, he represents Marian Hill, slenderbodies, the Kilians, and Michael Brun. For Berklee Online he wrote and teaches Artist Management. Ardie is currently a manager at Split Second Management, where he continues to represent Marian Hill, as well as Slenderbodies, the Kilans, and DJ/producer Michaël Brun. ABOUT MARJORIE GARCIA: Marjorie Garcia is a partner in the Entertainment Transactions department of King, Holmes, Paterno & Soriano in California. With more than 20 years of experience in entertainment law, her practice focuses on negotiating and drafting complex agreements spanning recording, publishing, branding, sponsorships, merchandising, and live performance. She advises artists, songwriters, producers, labels, and entertainment companies on navigating both domestic and international markets. Prior to joining the firm, Garcia served as legal counsel at Universal Music Group, supporting operations across the Americas and Europe. 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 Artist management | Marjorie Garcia | King, Holmes, Paterno & Soriano | Entertainment Law | Entertainment Lawyer | Split Second Management | Arcade Fire | Mumford & Sons | Bon Iver | St. Vincent | Berklee Online$ $Piano Chords for Modern Music: Voice Leading | Major & Minor Triads | Inversions | Dave Limina 6/22 Download Your Free Piano Handbook Now: https://berkonl.in/3tiaiQg Study Piano Online with Berklee: https://berkonl.in/2xqRbq3 In these video lessons from Berklee Online’s Piano Chords for Modern Music course, instructor Dave Limina explores the basic concepts of building chords on the piano. Whether you are new to piano or have been playing for years, these 22 videos will provide you with new insight on how to use chords in new ways. By focusing on the four pillars of learning: intellectual learning, drilling, grooving, and phrasing, Limina teaches you the theory behind chord construction and how to practice chords effectively. The first pillar (intellectual learning) demonstrates that all types of chords are formed from a specific scale. The second pillar (drilling) encourages you to repeat chord shapes and positions on the piano through several octaves, so you can memorize each chord and commit it to muscle memory. The third pillar (grooving), gets you locked in with a metronome and emphasizes how to play chords in time. Lastly, the fourth pillar (phrasing), shows you how to apply your knowledge of chord positions to a specific phrase of a tune, changing positions by following a specific tempo and style. Limina instructs you how to form major and minor triads, major and minor 7th chords, and dominant chords by following these four pillars. Across all 22 videos, you will also train your muscle memory, which is beneficial when reading music notation, sheet music, and creating your own music. ABOUT DAVE LIMINA: Dave Limina is the Chair of the Piano department at Berklee College of Music. He is also the Director of the Bachelor of Arts in Piano Performance degree program for Berklee Online. In 2001 he received the Most Valuable Contribution to the Performance Curriculum Award for his work in developing the Hammond organ program at Berklee. An experienced session keyboardist, composer, and arranger, Dave has performed with Ronnie Earl and the Broadcasters, Lori McKenna, Duke Robillard, Gloria Estefan, Mark Murphy, Scott Hamilton, and more. He also performed as part of the first national touring company of the Broadway musical “Rent.” He received Boston Music Award nominations for his work with Courage Brothers, Ronnie Earl, and Mighty Sam McClain, and has played on several Grammy-nominated recordings. He played keyboards on Michelle Willson’s “Wake Up Call” album, which won a Boston Music Award in 2001. Dave does extensive session work in Boston, New York, and LA. He is the author of “Hammond Organ Complete” (Berklee Press). His playing is also featured on many TV and film soundtracks. 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 Piano | Keyboard | Piano Chords | Chord Construction | Chord Theory | Major Triads | Minor Triads | Major 7th Chords | Minor 7th Chords | Dominant 7th Chords | Chord Inversions | Arpeggios | Voice Leading | Lead Sheets | Comping | Contemporary Piano | Improvisation | Music Theory | Berklee Online | Dave Limina | Stevie Wonder | Elton John | Ronnie Earl and the Broadcasters | Lori McKenna | Duke Robillard | Gloria Estefan | Mark Murphy | Scott Hamilton$ $Gospel Music for Keyboard: How Blues Form Plays into Gospel Songwriting | 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 introduces the blues sound and form, illustrating its role in gospel music. Copeland—who wrote this course with Dennis Montgomery—demonstrates the blues on the keyboard and explains its structure, form, and scale. The blues has its own scale, consisting of degrees 1, b3, 4, b5, 5, b7, and usually features chord progressions using a 12-bar format. To teach the difference between simple blues and jazz blues, Copeland starts by playing different chord progressions. He begins with a simple 12-bar blues progression: C7 (4 bars), F7 (2 bars), C7 (2 bars), G7 (2 bars), and back to C7 (2 bars). Then, he contrasts it with a more complex jazz blues progression: C7, F7, C7, C7, F7, F7, C7, A7, Dm7, G7, which repeats. To illustrate these concepts further, Copeland performs three songs: a 12/8 gospel blues, a jazz blues tune, and a traditional gospel song, “I Don’t Know What I Would Do Without the Lord.” To refresh, the chords are listed in further detail below: For the Jazz Blues progression: Phrase 1 (measures 1–4) C7–F7–C7–C7 Phrase 2 (measures 5–8) F7–F7–C7–A7 Phrase 3 (measures 9–12) Dm–G7–C–A7–Dm–G7 For the 12-bar blues with Dom 7th Chords: Phrase 1 (measures 1–4) C7–C7–C7–C7 Phrase 2 (measures 5–8) F7–F7–C7–C7 Phrase 3 (measures 9–12) G7–G7–C7–C7 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 | Piano Techniques | I Don’t Know What I Would Do Without the Lord | 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 | Blues scale | 12- bar Blues | Simple Blues | Jazz Blues | Berklee’s Reverence Gospel Choir$