The Berklee Guitar Proficiency System
- Rodrigo Moreira
- May 26
- 15 min read
TABLE OF CONTENTS (Click to jump) |
What's the Berklee Guitar Proficiency System?
Level I: First Semester Overview
Level II: Second Semester Overview
Level III: Third Semester Overview
Level IV: Fourth Semester Overview
Level V: Fifth Semester Overview
Level VI: Sixth Semester Overview
Level VII: Seventh Semester Overview
Level VIII: Eighth Semester Overview
How to Effectively Learn the Berklee Guitar Proficiency System
What's the Berklee Guitar Proficiency System?
Most visitors to this website are here because the content I share is deeply rooted in what I learned at Berklee College of Music—both the concepts and how they were taught. Naturally, many people become curious about how to learn and apply those same methods to their own playing, whether it's for composing, improvising, or just becoming a more complete musician.
In the paragraphs below, I’ll break down what the Berklee Guitar Proficiency System is and what we focus on each semester. Since I’m a guitarist, all examples will be presented in standard notation and tablature to make things easier for fellow guitarists to follow—but keep in mind, the core concepts are universal and apply to all instruments.
A Quick Overview of Berklee’s Program
Like many music colleges, Berklee offers an 8-semester program that includes coursework in Harmony, Ear Training, Composition, Improvisation, Ensemble Playing, and a wide range of Liberal Arts subjects (such as History, Biology, and Math). As you progress, the material becomes increasingly complex and demanding, preparing you to graduate as a professional musician ready for the industry.
However, what’s referred to as the Berklee Guitar Proficiency System is a separate, guitar-specific curriculum that runs parallel to the core classes.
Private Lessons and the Proficiency System
At the start of every semester, guitar students select a private instructor from Berklee’s renowned guitar faculty—which is no small decision. The faculty includes some of the most respected names in the guitar world. For example, the late Professor Mick Goodrick was so highly sought-after that students often had to wait several semesters—or longer—for a chance to study with him.
Once you’ve chosen your instructor, you begin working through that semester’s portion of the Guitar Proficiency System, a rigorous and structured set of technical requirements designed to develop fluency on the instrument.
What’s Included in the Proficiency System?
Each semester, students are required to learn and master a specific set of:
Scales
Arpeggios
Chords (Triads and Four-Part Chords)
These must often be memorized and performed in all 12 keys—and not just from root position, but starting from any degree or position on the neck. At the end of the semester, your progress is evaluated by a jury of two faculty members. They’ll call out scales or arpeggios at random, specifying both the key and the starting degree, which means you need to be completely confident in every possible fingering and position.
The Jury Evaluation
In addition to your technical exam, your private instructor will assign a performance piece tailored to your current skill level. This piece is also presented to the jury.
You’ll also be asked to do sight-reading exercises to assess how well you can interpret music notation on the spot.
Based on your performance in all these areas—technique, repertoire, and sight-reading—you’ll receive a proficiency grade. This grade plays a big role in determining which classes, ensembles, and labs you’re eligible to join in the following semester.
What’s Next?
In the sections that follow, I’ll walk you through the specific technical requirements for each semester: the scales, arpeggios, and chords you’re expected to master.
I won’t be covering the individual performance pieces or sight-reading materials, as those are highly personalized based on the student’s level. But by the end of this guide, you’ll have a clear understanding of how the Berklee Guitar Proficiency System works—and I’ll also share some practice strategies you can use to build this material into your own playing.
Level I: First Semester Overview
By the end of the first semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Major Scale (Two Octaves)
Keys: C, F, Bb, Eb, G, D, and A
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C major scale in two octaves, starting from the fourth degree (Lydian mode).
2. Chromatic Scale (Two Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a two-octave chromatic scale starting from G.
Triads
Required root notes: C, F, Bb, Eb, G, D, A
1. Chord Voicings (One Octave Across the Fingerboard)
Types: Major, Minor, Diminished, Augmented
Voicings must start from root-position, closed triads.
Example: The image below shows a C major triad in closed position, one octave across the fingerboard.
2. Arpeggios (One Octave)
Types: Major, Minor, Diminished, Augmented
Minimum tempo: Eighth notes at 60 bpm.
Must start from the root.
Example: The image below shows a one-octave C major triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: C, F, Bb, Eb, G, D, A
1. Chords (One Form for Each Type)
Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7, Maj6, Min6, Min9, Dom7(9), Dom7(b9), Dom7(♯9), Dom713
Example: The image below shows a Cmaj7 chord.
2. Arpeggios (One Octave from Root)
Types: Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a one-octave Cmaj7 arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level II: Second Semester Overview
By the end of the second semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Melodic Minor Scale (Two Octaves)
Keys: C, F, Bb, Eb, G, D, and A
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C melodic minor scale in two octaves, starting from the sixth degree (Locrian 2 mode).
2. Whole-Tone Scale (Two Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a two-octave whole-tone scale starting from A.
Triads
Required root notes: C, F, Bb, Eb, G, D, A
1. Chord Voicings (One Octave Across the Fingerboard)
Types: Major, Minor, Diminished, Augmented
Voicings must start from any inversion, one octave up and down all string sets, closed triads.
Example: The image below shows a C major triad in closed position, one octave across the fingerboard, starting from the 1st-inversion.
2. Arpeggios (Two Octaves)
Types: Major, Minor, Diminished, Augmented
Minimum tempo: Eighth notes at 60 bpm.
Must start from the root.
Example: The image below shows a two-octave C major triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: C, F, Bb, Eb, G, D, A
1. Chords (One Form for Each Type)
Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7), Maj7(9), Maj6(9), Min(maj7)9, Dom7(b9,b13), Dom7(b9,13), Dom7(9,b13).
Example: The image below shows a Cmin(maj7) chord.
2. Arpeggios (One Octave from Root)
Types: Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7)
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a one-octave Cmin(maj7) arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level III: Third Semester Overview
By the end of the third semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Harmonic Minor Scale (Two Octaves)
Keys: C, F, Bb, Eb, G, D, and A
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C harmonic minor scale in two octaves, starting from the fifth degree (Mixolydian b2b6 mode).
2. Diminished Scale (Two Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a two-octave diminished scale starting from D.
Triads
Required root notes: C, F, Bb, Eb, G, D, A
1. Chord Voicings (One Octave Across the Fingerboard)
Types: Major and Minor
Voicings must start from any inversion, one octave up and down all string sets, spread (open) triads.
Example: The image below shows a C major triad in open position, one octave across the fingerboard, starting from the 1st-inversion.
2. Arpeggios (One Octave)
Types: Major, Minor, Diminished, Augmented
Minimum tempo: Eighth notes at 60 bpm.
From any chord tone.
Example: The image below shows a one-octave C major triad arpeggio starting from the fifth.
Four-Part Chords and Arpeggios
Required root notes: C, F, Bb, Eb, G, D, A
1. Chords (Two Forms for Each Type)
Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7, Maj6, Min6, Min9, Dom7(9), Dom7(b9), Dom7(♯9), Dom713.
Example: The image below shows a Cmaj7 chord in two different forms.
2. Arpeggios (One Octave from any chord tone)
Types: Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a one-octave Cmaj7 arpeggio starting from the fifth.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level IV: Fourth Semester Overview
By the end of the fourth semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Harmonic Major Scale (Two Octaves)
Keys: C, F, Bb, Eb, G, D, and A
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C harmonic major scale in two octaves, starting from the seventh degree (Locrian 6 mode).
2. Major and Minor Pentatonic Scale (Two Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a two-octave pentatonic minor scale starting from C.
Triads
Required root notes: C, F, Bb, Eb, G, D, A
1. Chord Voicings (One Octave Across the Fingerboard)
Types: Augmented and Diminished
Voicings must start from any inversion, one octave up and down all string sets, spread (open) triads.
Example: The image below shows a C augmented triad in open position, one octave across the fingerboard, starting from the 1st-inversion.
2. Arpeggios (Two Octaves)
Types: Major, Minor, Diminished, Augmented
Minimum tempo: Eighth notes at 60 bpm.
From any chord tone.
Example: The image below shows a two-octave C major triad arpeggio starting from the third.
Four-Part Chords and Arpeggios
Required root notes: C, F, Bb, Eb, G, D, A
1. Chords (Two Forms for Each Type)
Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7), Maj7(9), Maj6(9), Min(maj7)9, Dom7(b9,b13), Dom7(b9,13), Dom7(9,b13).
Example: The image below shows a Cmin(maj7) chord in two different forms.
2. Arpeggios (One Octave from any chord tone)
Types: Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7)
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a one-octave Cmin(maj7) arpeggio starting from the third.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Mick Goodrick's Cycles
Starting in the fifth semester and continuing through the final term, we’ll explore a concept developed by Mick Goodrick: a voice-leading exercise based on triads. This approach focuses on finding the smoothest and most efficient ways to move from one chord to another using minimal motion between voices.
This exercise is not only essential for developing more interesting and connected chord progressions, but it also helps students quickly identify chord tones—an invaluable skill when improvising.
The image below shows the diatonic triads of the C major scale arranged in a cycle of 2nds. It’s called a “cycle of 2nds” because there’s a major or minor second interval between each successive chord:
C – Dm – Em – F – G – Am – Bdim – C
(image)
In this example, all triads are in root position. However, when we explore cycles with larger intervals—such as 3rds, 4ths, or 6ths—we'll often need to use inversions in order to achieve the smoothest possible transitions.
The next example illustrates a cycle of 3rds using the triads of the C major scale:
C – Em/B – G/B – Bdim – Dm/A – F/A – Am – C/G
(image)
In the following sections, I’ll provide examples for the remaining intervallic cycles.
Level V: Fifth Semester Overview
By the end of the fifth semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Major Scale (Three Octaves)
Keys: All keys.
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C major scale in three octaves, starting from the fourth degree (Lydian mode).
2. Chromatic Scale (Three Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a three-octave chromatic scale starting from G.
Triads
Required root notes: All keys.
1. Chord Voicings (Diatonic to C major)
Voice-led through 6 cycles from Root, 1st, and 2nd inversions.
Close and spread.
Example: The image below illustrates the cycle of 3rds, diatonic to C major, beginning in root position (close voicing)
2. Arpeggios (Three Octaves)
Types: Major.
Minimum tempo: Eighth notes at 60 bpm.
Must start from any chord tone. All keys.
Example: The image below shows a three-octave C major triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: All keys.
1. Chords (All inversions)
Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7.
Example: The image below shows the 1st-inversion of the Cmaj7 chord.
2. Arpeggios (Two Octaves from any chord tone)
Types: Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7.
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a two-octave Cmaj7 arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level VI: Sixth Semester Overview
By the end of the sixth semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Melodic Minor Scale (Three Octaves)
Keys: All keys.
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C melodic minor scale in three octaves, starting from the sixth degree (Locrian 2 mode).
2. Whole-Tone Scale (Three Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a three-octave whole-tone scale starting from A.
Triads
Required root notes: All keys.
1. Chord Voicings (Diatonic to C melodic minor)
Voice-led through 6 cycles from Root, 1st, and 2nd inversions.
Close and spread.
Example: The image below illustrates the cycle of 4ths, diatonic to C melodic minor, beginning in 1st-inversion (close voicing).
2. Arpeggios (Three Octaves)
Types: Minor.
Minimum tempo: Eighth notes at 60 bpm.
Must start from any chord tone. All keys.
Example: The image below shows a three-octave C minor triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: All keys.
1. Chords (All inversions)
Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7).
Example: The image below shows the 2nd-inversion of Cmin(maj7) chord.
2. Arpeggios (Two Octaves from any chord tone)
Types: Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7).
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a two-octave Cmin(maj7) arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level VII: Seventh Semester Overview
By the end of the seventh semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Harmonic Minor Scale (Three Octaves)
Keys: All keys.
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C harmonic minor scale in three octaves, starting from the fifth degree (Mixolydian b2b6 mode).
2. Diminished Scale (Three Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a three-octave diminished scale starting from D.
Triads
Required root notes: All keys.
1. Chord Voicings (Diatonic to C harmonic minor)
Voice-led through 6 cycles from Root, 1st, and 2nd inversions.
Close and spread.
Example: The image below illustrates the cycle of 5ths, diatonic to C harmonic minor, beginning in root-position (close voicing).
2. Arpeggios (Three Octaves)
Types: Augmented.
Minimum tempo: Eighth notes at 60 bpm.
Must start from any chord tone. All keys.
Example: The image below shows a three-octave C augmented triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: All keys.
1. Chords (All inversions)
Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7.
Example: The image below shows the 3rd-inversion of the Cmin7 chord.
2. Arpeggios (Three Octaves from any chord tone)
Types: Maj7, Min7, Dom7, Min7(b5), Dom7sus4, Dom7(♯5), Dim7.
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a three-octave Cmin7 arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
Level VIII: Eighth Semester Overview
By the end of the eighth semester, students must demonstrate the ability to play the following material from memory and on demand:
Scales
1. Harmonic Major Scale (Three Octaves)
Keys: All keys.
Must be playable starting from any scale degree (mode).
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a C harmonic major scale in three octaves, starting from the seventh degree (Locrian 6 mode).
2. Major and Minor Pentatonic Scale (Three Octaves)
Starting from the root note.
Minimum tempo: Sixteenth notes at 60 bpm.
Example: The image below shows a three-octave pentatonic minor scale starting from C.
Triads
Required root notes: All keys.
1. Chord Voicings
Voice-led chromatically "48 to 48".
Close and spread.
The “48 to 48” exercise, developed by Mick Goodrick, is a comprehensive drill that applies the four types of triads students have studied so far across all 12 keys (4 triad types × 12 keys = 48 combinations). I won’t go into detail here, but I’ll share recommended resources for learning it in the section titled “How to Effectively Learn the Berklee Guitar Proficiency.”
2. Arpeggios (Three Octaves)
Types: Diminished.
Minimum tempo: Eighth notes at 60 bpm.
Must start from any chord tone. All keys.
Example: The image below shows a three-octave C diminished triad arpeggio starting from the root.
Four-Part Chords and Arpeggios
Required root notes: All keys.
1. Chords (All inversions)
Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7).
Example: The image below shows the 1st-inversion of C7(b5) chord.
2. Arpeggios (Three Octaves from any chord tone)
Types: Min(maj7), Maj7(#5), Maj7(b5), Min7(#5), Dom7(b5), Dim(maj7).
Minimum tempo: Eighth notes at 60 bpm.
Example: The image below shows a three-octave Cmaj7(b5) arpeggio starting from the root.
Performance
1. Piece:
Selected by the private instructor based on the student’s skill level.
2. Reading:
Assigned by the jury, tailored to the student's current reading ability.
How to Effectively Learn the Berklee Guitar Proficiency System
For many years, the only way to access the Berklee Guitar Proficiency System was to either study at Berklee College of Music or take private lessons with an alumnus. Today, Berklee not only offers more affordable online courses compared to traditional in-person tuition, but they also released a comprehensive theory book in 2023. This book outlines the entire system and provides a clear roadmap for developing true proficiency on your instrument. It's widely available on Amazon, typically priced between $20 and $30. You can check it out by clicking on the image below:
If you’re interested in studying voice leading cycles in depth—and pushing far beyond the basics—Mick Goodrick’s Almanac of Guitar Voice-Leading series is a rare and valuable resource. The series includes Volume 1, Volume 2, and Volume 3. Unfortunately, these books are no longer in print, and when they do appear for sale, prices can reach as high as $500 each.
Even if you're fortunate enough to find a copy at a thrift store or online, be aware that these books are notoriously challenging. Goodrick deliberately avoided giving step-by-step instructions, encouraging students to develop their own interpretations and approaches. As a result, these books are best suited for advanced musicians with a strong theoretical background.
You can check out one of the volumes by clicking on the image below:
A more accessible and practical alternative is Mick Goodrick’s The Advancing Guitarist. This book covers all the essential concepts guitarists need to know, providing a solid foundation for practicing voice leading cycles and developing a deeper understanding of the instrument. It’s typically available for around $30.
For those looking to study the Berklee Guitar Proficiency System in a meaningful and affordable way, the best approach is to combine The Advancing Guitarist with the Berklee Guitar Theory book mentioned earlier. Together, they offer a comprehensive path toward true musical proficiency.
You can find The Advancing Guitarist by clicking on the image below:
If this is your first time on my website, I want to let you know that I’ve written a comprehensive series of 16 posts that cover everything a guitarist needs to achieve true proficiency—going far beyond what’s taught in the Berklee Proficiency System. Best of all, you can read every post for free, anytime you like.
Just click on any topic listed below to get started. The series walks you through the essentials—from the basics of music theory (like simple intervals) all the way to advanced topics such as chords, scales, arpeggios, chord-melody techniques, major and minor key types, and building effective chord progressions.
The only support I receive for this work comes from the ads displayed around the site. I know they can be a bit annoying, and I truly appreciate your understanding—they’re what allow me to offer all of this content at no cost.
Simples Intervals -> Compound Intervals -> Triads -> Drop-2 Chords -> Drop-3 Chords -> Shell Chords & Extensions -> Triads & Extensions -> Chord Melody -> Guitar Arpeggios -> Guitar Scales -> Major Keys -> Minor Keys -> Harmonic Minor Keys -> Melodic Minor Keys -> Greek Modes -> Chord Progressions
What the Berklee Guitar Proficiency System Doesn't Cover
In short, the Berklee Guitar Proficiency System teaches you how to find things on the guitar—but not necessarily how to use them. If you complete the entire program and put in the required practice, you'll develop the ability to locate any note, scale, arpeggio, or chord on the fretboard instantly. For many players, that’s a powerful achievement—and sometimes, it’s all they’re looking for.
But once you reach that level, a new question arises: How do you actually apply all of this knowledge? Mastering the fretboard doesn’t automatically make you more creative. To truly grow as a musician, you still need to invest countless hours in composing, improvising, experimenting, and discovering what sounds good to you. Like any artist, you’ll have to develop your own voice.
I'm sure there are plenty of great resources out there on music theory for guitar, including ways to practice the concepts we've discussed in this post. But if you like well-organized material that takes you step by step—from the basics to more advanced concepts—and you've been enjoying the content on this blog, you might be interested in my own method. It's based on everything I learned while studying at Berklee College of Music, along with insights from private lessons, guitar labs, ensembles, and collaborations with many incredible musicians.
My method, "Music With no Shortcuts: Everything a guitarist needs to know in one book," is designed to build true guitar proficiency with a clear, structured approach. You can learn more by clicking on Music With no Shortcuts in the top menu, where you’ll find a detailed overview of what’s included. You can also access the product page directly by clicking the image below:
Feel free to contact me anytime at info@guitartheorylessons.com.
Thank you!
Rodrigo Moreira
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