This course was my favorite class of the term, actually, I think it is one of my favorite classes that I have taken with Berklee Online. That being said, it was a very challenging class in terms of the amount of material covered over twelve weeks. Very ambitious, as you can see from the weekly lesson plans below.

I was fortunate to have the course author, Phillip Sheeran, as the instructor for this class. He was excellent, in all regards. His knowledge and experience were vast and deep, and his personal music was masterful and beautiful, yet he was super humble, helpful, and approachable. I enjoyed his classes and the material that he shared with us. Just fantastic. 

Here’s what we went over during these twelve weeks.

Week 1 – “World Music and Instrument Classification”, Jun 27 – Jul 1
Introduction, World Music Styles and Genres, Meet and Greet, Melody and Ornamentation, Harmony and Tonality, Tempo and Meter, Rhythm and Accents, Instrumentation and Form, Quiz 1.1: Styles and Genres , Classification of Instruments, Idiophones, Struck Idiophones, Struck Idiophones: Bars, Struck Idiophones: Tubes, Struck Idiophones: Vessels, Struck Idiophones: Gongs, Struck Idiophones: Bells, Concussion Idiophones, Shaken Idiophones, Scraped Idiophones, Lamellaphone Idiophones, Friction Idiophones, Stamping Idiophones, Workshop: Idiophone Catagories, Membranophones, Tubular Drums, Tubular Drums cont., Frame Drums, Vessel Drums, Friction Drums, Mirlitons, Workshop: Membranophone Catagories, Chordophones, Musical Bows, Zithers, Lutes, Lutes cont., Lyres, Harps, Frame Harps, Harmonics, Harmonics cont., Workshop: Chordophone Categories, Aerophones, Free Aerophones, Free Reed Aerophones, Whistle Mouthpiece Aerophones, Blow Hole Aerophones, Single Reed Pipes, Double Reed Pipes, Bagpipes, Labrosones, Organs, Workshop: Aerophone Catagories, Electrophones, Electric and Electro-Acoustic Instruments, Transducers, Electromechanical Instruments, Devices, and Sound Processing, Analogue Electronic Instruments, Digital Synthesizers, Software, Mechanical, Workshop: Electrophone Catagories, World Music Production, MIDI, Continuous Controllers, Virtual Instruments and Sample Libraries, Samples and Instruments, Sample Types, Exercise 1.1: Hardware Software Installation and Signal Flow, Workshop: Loading Virtual Instruments, Assignment 1: Analyze and Define the Characteristics of “One Love”, Recap

Week 2 – “Celtic Music from Ireland, England, and Scotland”, Jul 2nd – Jul 8th
Introduction, Roots of Celtic Music, Roots of Celtic Music Examples, Listening Exercise: Celtic Artists, Melody and Form in Celtic Music, Modes Used in Celtic Music, Melody Example 1: “Caitlín Triall”, Melody Example 2: “Down by the Sally Gardens”, Melody Example 3: “Famine Irish”, Melody Example 4: “Ships are Sailing”, Melody and Form, Ornamentation in Celtic Music, Ornamentation Types, Ornamentation Examples, Quiz 2.1: Melody in Celtic Music, Workshop: Types of Oramentation, Harmony in Celtic Music, Common Chords and Progressions, Common Chord Progression Examples, Workshop: Celtic Chord Progressions, Tempo and Rhythm in Celtic Music Styles, Tempo and Rhythm Example 1: The Reel, Tempo and Rhythm Example 2: The Jig, Tempo and Rhythm Example 3: The Hornpipe, Workshop: Celtic Tempo and Rhythm Styles, Celtic Rhythmic Accompaniment, Rhythmic Accompaniment Example 1: The Reel, Rhythmic Accompaniment Example 2: The Jig, Rhythmic Accompaniment Example 3: The Hornpipe, Exercise 2.1: Progression to a Jig Melody, Instrumentation in Celtic Music, Aerophones: Bagpipes, Aerophones: The Great Highland Bagpipes, Aerophones: The Scottish Smallpipes, Aerophones: Uilleann Pipes, Aerophones: Celtic Flutes and Whistles, Aerophones: Accordions and Concertinas, Chordophones: Acoustic Guitar, Chordophones: The Mandolin, Chordophones: The Irish Bouzouki, Chordophones: The Fiddle, Chordophones: The Celtic Lever Harp, Membranophone: The Bodhrán Drum, Workshop: Celtic Instrument Matching (Part 1), Workshop: Celtic Instrument Matching (Part 2), Workshop: Celtic Instrument Matching (Part 3), Workshop: Celtic Instrument Matching (Part 4), Discussion 2.1: Impressions of the Irish Group Altan, World Music Production: Working with Dynamics, On-Velocity, Volume, Expression, Modulation, Workshop: Working with Dynamics, Workshop: Celtic Terms Review, Assignment 2: Celtic Composition Arrangement, Recap

Week 3 – “Flamenco Music from Spain”, Jul 9th – Jul 15th
Introduction, Roots of Flamenco Music, Roots of Flamenco Music Examples, Harmony in Flamenco Music, Common Chord Voicings, Phrygian and Major-Phrygian Mode, Flamenco Mode, Cadences Used in Flamenco, Flamenco Tonalities, Modes and Keys Used for Cantes, Quiz 3.1: Harmony in Flamenco Music, Melody in Flamenco Music, Cante Flamenco, Flamenco Melody Example, Falseta for Soleá, Microtonality, Glissando, and Ornamentation in Melody, Guitar Ornamentation, Rhythm, Tempo, Meter, and Form in Flamenco, The 12-Beat Cycle, Soleá Compás – Rhythm and Chords, Solo for Soleá, Alegrías, Tangos, Exercise 3.1: Count, Clap, and Record a Compás, Discussion 3.1: Impressions of Flamenco Music, World Music Production: Miking a Nylon String Guitar, Instrumentation in Flamenco Music, Chordophone (Fretted Lute): Flamenco Guitar, Flamenco Guitar Notation Ranges, Struck Idiophone: Cajón, Percussion Idiophone: Clapping, Stamping Idiophone: Dancing and Singing, Workshop: Continued Listening, Workshop: Flamenco Terms Review, Assignment 3: Flamenco Music Composition Arrangement, Recap

Week 4 – “Middle East: Sufi Music from Turkey”, Jul 16th – Jul 22nd
Introduction, Origins of Sufi Music, Origins of Sufi Music: “Whirling Dervishes”, Discussion 4.1: Impressions of Sufi Music, Melody in Sufi Music, Non-Tempered Tonal System with 24 Tones per Octave, The Ezgi-Arel Notation System, The Turkish Chromatic Scale, The Makam Tetrachords and Pentachords, Thirteen Basic Makam Scales, Workshop: Turkish Music Makam Comma System, Melodic Structure and Form of Sufi Music, Three Types of Melodic Directions for a Makam, Melodic Example: “Beyati Pesrevi”, Transposing a Makam, Beyati Makam in a Composition, Melodic Example: “Beyati Pesrevi,” Full Excerpt, Melodic Example: “Beyati Taksim”, Workshop: Transposition Practice and Melodic Directions, World Music Production: Microtonality in Your DAW, Exercise 4.1: Microtonality, Harmony, Tonality Keys, and Modulation of Sufi Music, “Beyati Pesrevi” Analysis, “Segah Makam” Analysis, Tempo and Rhythm in Sufi Music, “Düm” and “Tek”, Usul Patterns, “Ferahfezâ”, Exercise 4.2: Usul, Instrumentation in Sufi Music, Aerophone: Ney, Chordophones: Tanbur, Chordophone: Klasik Kemence and Violin, Chordophone: Kanun, Membranophones: Aski-Davul and Kudüm Drum, Membranophones: Daire and Bendir Frame Drum, Workshop: Sufi Music Terms Review, Assignment 4: Sufi Music Composition Arrangement, Recap

Week 5 – “West Africa: Music from Mali”, Jul 23rd – Jul 29th
Introduction, Roots of the Mande People and Manding Music, The Epic of Sundiata, Malian Social Classes, Quiz 5.1: Roots of Mande People and Music, Harmony in Manding Music, “Mama” Harmony Excerpts 1 & 2, “Mama” Harmony Excerpt 3, “Iyo Djeli” Harmony Excerpt, “Iyo Djeli” Harmony Excerpt, Continued, Quiz 5.2: Harmony in Manding Analysis, Melody in Manding Music, “Iyo Djeli” Call and Response Excerpt, “Madan” Call and Response Excerpt, Discussion 5.1: “Madan” Melodic Analysis, Rhythm, Tempo, and Meter in Manding Music, Pankeke Pattern: Excerpt 1, Pankeke Pattern: Excerpt 2, Sabada: Standard Pattern, World Music Production Tip: Setting Up Reverb on an Auxiliary Bus, Exercise 5.1: Pankeke Pattern, Instrumentation Used in Manding Music, Membranophones, Idiophones, Chordophones, Chordophone: Electric Guitar, Discussion 5.2: Continued Listening and Research, Workshop: Manding Music Terms Review, Assignment 5: Mali Music Composition Arrangement, Recap

Week 6 – “South Asia: Music from India”, Jul 30th – Aug 5th
Introduction, Roots of Indian Classical Music, Part 1, Roots of Indian Classical Music, Part 2, Introductory Musical Examples, Instrumentation in Indian Music, Chordophones: Tambura, Chordophones: Sitar, Chordophones: Sarod, Chordophones: Sarangi, Memranophones: Tabla, Aerophones: Bansuri, Quiz 6.1: Instrumentation in Indian Music, Rhythmic Structures in Indian Music, Rhythmic Communication, Bol and the Tabla, Most Common Bol Strokes, Common Tala (Patterns) on Tabla, Quiz 6.2: Indian Rhythms, Exercise: Matching Tala Patterns on Tabla, Melody in Indian Raga Music, The Indian Raga Melodic System, Microtones and Unequal Temperament, Quiz 6.3: Sargam, Northern System for Sargam, Six Thaats (Scales) of the Hindustani System, Four Additional Thaats (Scales) of the Hindustani System, Musical Example Using the Bhairav Thaat, Exercise 6.1: Write a Melody Using a Thaat, Southern System for Sargam, Carnatic Raga Scale No. 66, Ghavāmbhodi: Raga Scale No. 43, The Full 72 Scales, Exercise 6.1: Write a Melody Using a Carnatic Raga, Ornamentation, World Music Production Tip: Incorporating Indian Musical Concepts in Your Music, Discussion 6.1: Impressions of Music from India, Workshop: Indian Musical Terms Review, Assignment 6: Compose a Piece Incorporating Indian Musical Concepts, Recap

Week 7 – “East Asia: Traditional Japanese Music”, Aug 6th – Aug 12th
Introduction, Roots of Traditional Japanese Music, Roots of Traditional Japanese Music, Roots of Traditional Japanese Music, Exercise: Japanese Style and Instrumentation Matching, Exercise: Japanese Instrumentation Matching, Harmony and Modes Used in Japanese Music, Harmony Example: “Haru no umi”, Japanese Scales and Modes, Japanese Pentatonic Scales, Japanese Pentatonic cont., Harmonic Analysis: “Haru no umi”, Quiz: Japanese Harmony and Modes, Melody in Traditional Japanese Music (Hōgaku, Sokyoku), Stable and Unstable Tones, Melody Analysis: “Sakura”, Melody Analysis 2: “Sakura”, Melody Analysis 3: “Sakura”, Melodic Analysis: “Rokudan no Shirabe”, World Music Production Tip: Producing Realistic-Sounding Ornamentation, Workshop: Sokyoku Melody, Rhythm, Tempo and Form in Sankyoku Music, Sankyoku Ensemble Piece: “Yaegoromo”, Sankyoku Analysis 1, Sankyoku Analysis 2, Instrumentation in Sankyoku Music, Chordophones: Koto, Chordophones: Shamisen, Chordophones: Shamisen Tuning, Aerophones: Shakuhachi, Discussion: Impressions of Traditional Japanese Music, Exercise: Japanese Musical Terms Review, Assignment 7: Japanese Music Composition Arrangement, Recap

Week 8 – “Caribbean: Music from Cuba”, Aug 13th – Aug 19th
Introduction, Roots of Cuban Music, Roots of Cuban Music Examples, Introductory Musical Example, Quiz 8.1: Roots of Cuban Music, Tempo and Rhythm in Cuban Music, Types of Claves, Exercise: Rhythm and Tempo Matching, Cuban Music Styles, Son-Montuno, Bolero, Guajira, Exercise 8.1: Write a Chord Progression, Melody in Cuban Music, Son-Montuno Melody Pattern 1, Son-Montuno Melody Pattern 2, Exercise 8.2: Write a Son-Montuno Chord Progression, Harmony Structure and Form in Son, Harmony Structure and Form in Bolero, Bolero Analysis: “Dos Gardenias” (Part 1), Bolero Analysis: “Dos Gardenias” (Part 2), Quiz 8.2: “Dos Gardenias” Bolero, Instrumentation in Cuban Music, Labrosones: Trumpet, Chordophone: Tres, Struck and Shaken Idiophones, Membranophones: Bongos, Tumbas, Batá, Timbales, World Music Production Tip: Miking Congas and Bongos, Discussion 8.1: Continued Listening and Impressions of Cuban Music, Workshop: Cuban Music Terms Review, Assignment 8: Caribbean Music Composition Arrangement, Recap

Week 9 – “Latin America: Music from Brazil”, Aug 20th – Aug 26th
Introduction, Roots of Brazilian Music, Carnaval, Samba, Choro, Bossa Nova, Quiz 9.1: Roots of Brazilian Music, Workshop: Brazilian Music Styles Matching, Instrumentation in Brazilian Music, Chordophones: Cavaquinho, Chordophones: Violão, Chordophones: Viola Caipira, Samba Percussion of the Bateria: Idiophones, Samba Percussion of the Bateria: Membranophones, Samba Percussion of the Bateria: Membranophones cont., Aerophones: Flute, Aerophones: Saxophone, Aerophones: Clarinet, Labrosones: Trombone, Workshop: Brazilian Instrument Matching (Part 1), Workshop: Brazilian Instrument Matching (Part 2), Workshop: Brazilian Instrument Matching (Part 3), Workshop: Brazilian Instrument Matching (Part 4), Workshop: Brazilian Instrument Matching (Part 5), Workshop: Brazilian Instrument Matching (Part 6), Up-Tempo Styles: Samba Batucada, Up-Tempo Styles: Samba Canção, Up-Tempo Styles: Samba Partido Alto, Mid-Tempo Styles: Bossa Nova, Mid-Tempo Styles: Baião, Exercise 9.1: Brazilian Rhythmic Patterns, Harmony in Brazilian Music, Upbeat Samba Harmony, Harmony Used in Bossa Nova and Samba, Harmony Analysis: “Chega De Sudade”, Moody Intros and Altered Harmony, Exercise 9.2: Bossa Nova, Melody in Brazilian Music, Samba Melodic Example: “O Pato” (Part 1), Samba Melodic Example: “O Pato” (Part 2), Baião Melodic Example: Aparição (Part 3), Baião Melodic Example: Aparição (Part 4), Exercise 9.3: Melody and Harmony, Discussion 9.1: Impressions of Music from Brazil, Workshop: Brazilian Music Terms Review, Assignment 9: Brazilian Music Composition Arrangement, Recap

Week 10 – “Latin America: Tango Music from Argentina”, Aug 27th – Sep 2nd
Introduction, Roots of Argentine Tango Music, Buenos Aires, Argentina: Birthplace of the Tango Style, Introductory Musical Example, Discussion 10.1: Research, Astor Piazzolla, Rhythm, Tempo, and Meter in Tango, “Ausencias:” Tango Rhythm Example 1, “Ausencias:” Tango Rhythm Example 2, “Street Tango:” Tango Rhythm Example 3, Workshop: Rhythm in Tango, “Adios Nonino” Harmony Analysis (Part 1), “Adios Nonino” Harmony Analysis (Part 2), “Adios Nonino” Harmony Recap and Performance, Exercise 10.1: Write a Tango Chord Progression, Melody and Form in Tango, “Milonga Del Angel” Melody and Form Analysis 1, “Milonga Del Angel” Melody and Form Analysis 2 (Part 1), “Milonga Del Angel” Melody and Form Analysis 2 (Part 2), Chromaticism in the Bass and Melody during Variations, Ornamentation in Tango, Quiz 10.1: Melody in Tango, World Music Production Tip: Sequencing with Multiple Tempo Changes, Instrumentation Used in Tango Music, Argentine Tango Ensemble Instrumentation, Quiz 10.2: Tango Instrumentation, Discussion 10.2: Impressions of Tango Music, Workshop: Tango Musical Terms Review, Assignment 10: Tango Music Composition Arrangement, Recap

Week 11 – “Oceania: Music from Australia and Oceania”, Sep 3rd – Sep 9th
Introduction, Roots of Indigenous Australian Music, Musical Example of Indigenous Australian Music, Quiz 11.1: Roots of Indigenous Australian Music, Rhythm, Tempo, Meter and Form in Indigenous Australian Music, Metered, Unmetered and Tempo in Wangga Songs, Unmetered Excerpt 1: “Wilumen Tulh”, Metered Excerpt 2: “Wilumen Tulh”, Even Metered Excerpt: “Yagarra Delhi Nye-bindja-ng Barra Ngarrka”, Isorhythm and Cyclical Rhythm Excerpt: “Bangany-nyung Ngaya”, Noncyclical and Cyclical Melodic Phrases Excerpt: “Bangany-nyung Ngaya”, Form in Wangga, Quiz 11.2: Rhythm, Tempo, and Meter in Indigenous Australian Music, Workshop: “Bangany-nyung Ngaya” Form Matching, World Music Production Tip: Making a Sampler Instrument, Melody in Indigenous Australian Wangga Song, Scales and Modes in Indigenous Australian Music, Tetrachords Species, Melodic Shape and Range, Melodic Excerpt 1: “Bangany-nyung Ngaya”, Melodic Excerpt 2: “Truwu”, Melodic Excerpt 3: “Truwu”, Exercise 11.1: Indigenous Australian Melody and Accompaniment, Instrumentation in Indigenous Australian Music, Aerophone: Didjeridu, Idiophone: Concussion and Stomping, Quiz 11.3: Indigenous Australian Instrumentation, World Fusions, World Fusion Song Example: “Treaty”, “Treaty,” Excerpt 1, “Treaty,” Excerpt 2, World Fusions Concepts, Discussion 11.1: Impressions of Indigenous Australian Music, Workshop: Indigenous Australian Musical Terms Review, Assignment 11: World Music Fusion Project, Recap

Week 12 – “Orchestral World Fusion”, Sep 10th – Sep 16th
Introduction, Celtic Orchestral World Fusion: Braveheart, String Introduction, Cadence Derived from Mixolydian Mode, Instrumentation of Braveheart, Discussion 12.1: Celtic and Orchestral Elements Used in Braveheart, Flamenco Orchestral World Fusion: The Mask of Zorro, Flamenco Mode: Melody and Harmony, Andalusian Cadence, Flamenco Instrumentation and Rhythm, Full Orchestration, Discussion 12.2: Orchestral World Fusion, Workshop: World Fusion Elements, Excerpt 1, Workshop: World Fusion Elements, Excerpt 2, Workshop: World Fusion Elements, Excerpt 3, Workshop: World Fusion Elements, Excerpt 4, Workshop: World Fusion Elements, Excerpt 5, Workshop: World Fusion Elements, Excerpt 6, Workshop: World Fusion Elements, Excerpt 7, World Music Production: Mixing Orchestral and Non-Orchestral Material, Orchestral Production Material, Non-Orchestral Production Material, Any Type of Mixing or Material Tips, Assignment 12: Final Project, Recap

Here’s the audio for the piece that I put together as a Final Project. The full score follows below.