Ear Training 1

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Authored by Allan Chase, Roberta Radley

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Course Code: OEART-119

Next semester starts September 28

Level 1

Level 1

3-Credit Tuition

$1,497

Non-Credit Tuition

$1,250

Ear Training 1 is the first of a series of four required courses that are designed to help you learn essential musicianship skills applicable to all styles of music: the ability to accurately recognize, imagine, remember, and notate musical sounds, and the ability to read music notation. Through guided practice of ear training techniques, your musical perception and performance will become more accurate and you will become more fluent in translating sound into notation and notation into sound.

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The techniques for learning ear training—moveable-Do solfège, conducting, counting systems, and dictation techniques—are time-tested aids for the development of these musicianship skills. The skills you will learn will be useful in composition, arranging, production, learning new repertoire, and bandleading; improvisation and musical interaction in performance; and improved music perception in listening.

By the end of the course, you will be able to:

  • perform, recognize, transcribe, and notate rhythms in 2/4, 3/4, and 4/4 meters up to syncopated 16th notes accurately using conducting patterns
  • sight-sing, perform, recognize, transcribe, and notate major melodies in keys up to two sharps or two flats, in treble and bass clefs, accurately using moveable-do solfège syllables and conducting patterns
  • recognize, transcribe, and notate major-key tonal chord progressions using triads, V7, and V7sus4 in root position
  • Imagine (audiate, using inner hearing) pitches in major keys, melodically and harmonically, and apply that skill to music performance, improvisation, and composition
  • sight-sing, perform, recognize, transcribe, and notate major and minor melodies in all keys, in treble and bass clefs accurately using moveable-Do solfège syllables and conducting patterns.
  • sight-sing, perform, recognize, transcribe, and notate rhythms in 2/4, 3/4,and 4/4 meters, eighth-note up to syncopated 16th notes accurately using conducting patterns
  • recognize, transcribe, and notate major- and minor-key tonal chord progressions including 7th chords and inversions, and chords and progressions from the natural, harmonic, and melodic minor scales
  • imagine (audiate, using inner hearing) pitches in major and minor keys, melodically and harmonically, and apply that skill to music performance, improvisation, and composition
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Overview Syllabus Requirements Instructors
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Syllabus

Lesson 1: Getting Organized: Sound, Notation, and Function

  • Melody: Solfège, Inner Hearing, and the Major Scale
  • Melodic Figures
  • Sol-Fa Notation: Just the Syllables
  • Reading Melodies
  • Intervals: Identifying the Minor 2nd
  • The Ear Training Balancing Act
  • Assignment 1.1: Movable-Do Solfège, Melody, and Conducting
  • Assignment 1.2: Identifying Meter, Conducting, and Counting

Lesson 2: Moving Forward: Mapping Subdivisions, Bass Clef Melodies

  • Rhythm: Introducing 4/4
  • Memorizing Rhythm Words
  • Melody: Bass Clef, Reading Stepwise Melodies Using the Whole Major Scale
  • Melodic Dictation
  • Intervals: Identifying the Major 2nd
  • Assignment 2.1: Rhythmic Reading Performance
  • Assignment 2.2: Compose, Transpose, and Perform a Melody
  • Sight-Singing Practice

Lesson 3: Navigating Leaps and Notating in 4/4

  • Rhythm: Notating in 4/4
  • Melody: Leaps in the I Chord
  • Intervals: The Major 3rd
  • Harmony: The Tonic Major Triad
  • Assignment 3.1: Rhythmic Dictation in 4/4
  • Assignment 3.2: Melody Singing
  • Sight-Singing Practice

Lesson 4: The Tendency to Resolve: Tendency Tones, Basic Chord Functions

  • Rhythm: 3/4 Time
  • Melody: Major Key Tendency Tones
  • Tendency Tone: Singing Quiz
  • Mastering Tendency Tones in all Keys
  • Intervals: The Minor 3rd
  • Harmony: I, IV, and V Chords
  • Bonus: Takin’ It to the Streets
  • Assignment 4.1: Performance in 3/4
  • Assignment 4.2: Melodic Duet Performance
  • Sight-Singing Practice

Lesson 5: Wider Leaps and Finer Subdivisions

  • Rhythm: Introducing One-Beat 16th-Note Patterns
  • Performance Articulations
  • Melody: Leaps from Do
  • Melodic Dictation: The Process
  • Intervals: Review of 2nds and 3rds
  • Harmony: Voice Leading I IV V Chord Progressions
  • Introducing V7
  • Assignment 5.1: Rhythmic Performance
  • Assignment 5.: Melodic Transcription
  • Sight-Singing Practice

Lesson 6: Midterm Review and Assessment

  • Review for Performance Midterm Exam: Rhythm and Melody
  • Review for Dictation and Recognition Midterm Exam: Rhythmic and Melodic Dictation
  • Assignment 6.1: Midterm Performance Exam
  • Assignment 6.2: Midterm Dictation and Recognition Exam

Lesson 7: Expectation and Surprise: Syncopation and Indirect Resolution

  • Rhythm: Introducing Syncopated Eighth-Note Patterns and Articulations
  • Melody: Broken 3rds and Indirect Resolutions of Tendency Tones
  • Introducing the key of Bb
  • Harmony: The Perfect 4th and Perfect 5th intervals
  • Harmony: Introducing the Minor Triad
  • Assignment 7: Performance, Recognition, and Dictation, Sight-Singing

Lesson 8: New Colors

  • Rhythm: Eighth-note Syncopation, Dynamic Markings
  • Harmony: Tritone Interval, Inverting Intervals
  • Harmony: Introducing II-, Vsus4, and V7sus4
  • Assignment 8: Performance, Recognition, and Dictation, Sight-Singing

Lesson 9: Up, Down, and Around: 6ths and 16ths

  • Rhythm: More On 16th-Note Patterns; Tempo Markings, the One-Bar Repeat Sign
  • Introducing the key of D major
  • Melody: Introducing Leaps of a 6th in the I Chord
  • Harmony: Major and Minor 6th Intervals, Inversions of 3rds
  • Harmony: Introducing VII°; Diatonic Root-position Triads, V7, and V7sus4
  • Assignment 9: Performance, Recognition & Dictation, Sight-Singing

Lesson 10: Forms and Cycles

  • Sixteenth Note Patterns, Form and Repeat Signs: DC, DS, Coda, Fine
  • Melody: Mastering D Major
  • Harmony: Major and Minor 7th intervals; Inversions of 2nds
  • Harmony: Cycle 5 Diatonic Chord Patterns
  • Assignment 10: Performance, Recognition & Dictation, Sight-Singing

Lesson 11: Putting It All Together

  • Sixteenth Note Patterns, Two-Bar Repeat Signs; Dynamic Wedges
  • Review of C, F, G, Bb, and D Major Melody, Sight-Singing Practice
  • Harmony: Review of All Simple Intervals
  • Harmony: Review Common Diatonic Chord Patterns; Melody-Harmony Relationship
  • Assignment 11: Performance, Recognition & Dictation, Sight-Singing

Lesson 12: Final Assignment and Final Project, Final Exam

  • Summary and Review of all Material for the Final Exam
  • Moving On: Techniques and Ideas for Further Development of Ear Training Skills
  • Assignment 12.1: Final Performance Exam
  • Assignment 12.2: Final Dictation and Recognition Exam

Requirements

Prerequisites and Course-Specific Requirements 

Completion of Music Foundations or equivalent knowledge and experience is required.

Students should be able to:

  • Match pitch vocally
  • Read and notate basic rhythms (whole notes, half notes, quarters, eighths, and sixteenths) in time signatures of 2/4, 3/4, and 4/4
  • Identify and notate pitches in treble and bass clef
  • Notate major scales in C, F, G
  • Recognize simple major key harmonic patterns including the I, IV, and V chords

Required Textbook(s)

  • Ear Training 1 Workbook by Scott deOgburn, Tony Germain, Mitch Haupers, Steve Prosser, Roberta Radley, and Dave Vose
    • This is a workbook purchased from the Berklee Bookstore. Please make sure you purchase this workbook ahead of time, especially for international students. Allow for shipping time. Note that all of the drop down menus are appropriately selected for you. You only have to click on the Select Format tab in order to purchase the workbook. If you have any difficulties purchasing the book, you may contact the Berklee Bookstore at bookstore@berklee.edu or by calling 617-747-2402
  • Reading, Writing and Rhythmetic by Roberta Radley, Sher Music Co

Software Requirements

  • MuseScore (free download), Finale NotePad, or Finale (full version)
    • Mac Users: Finale NotePad is currently not compatible with macOS 10.12 Sierra. It is highly recommended to not upgrade to this version if you plan on using NotePad. If you have already upgraded to macOS Sierra, we recommend downloading MuseScore or purchasing the full Finale version at a deep discount through the Student Deals page upon enrolling in the course. To check your OS version, click on the Apple icon in the upper-left corner of your screen and select About This Mac.
  • A basic audio recording tool that will allow you to record yourself and save the recording in MP3 format. You will have a tool to use for this purpose inside the learning environment. Alternatively, you can use software like Audacity or GarageBand. For help using either Audacity or GarageBand, visit the Berklee Online Technical Assistance page. Scroll down to the bottom of the page to watch tutorials about using each of these programs.

After enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Student Deals page also features several discounts you can take advantage of as a current student. Please contact support@online.berklee.edu for any questions.


General Course Requirements

Below are the minimum requirements to access the course environment and participate in live chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of  Google Chrome
  • Zoom meeting software (available in the course when joining your first chat)
  • Webcam
  • Speakers or headphones
  • External or internal Microphone
  • Broadband Internet connection

Instructors

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Author & Instructor

Chair of the Ear Training department at Berklee since 2008, saxophonist and composer Allan Chase has appeared as a soloist on more than 40 jazz, pop, and classical recordings, in addition to several movie scores. Chase has taught a wide range of college courses in ear training, transcription and analysis, harmony, counterpoint, music theory, and music history, as well as ensembles and private lessons. He began his teaching career at Berklee in 1981, and has also taught at Tufts University and New England Conservatory, where he served as chair of jazz studies and dean of the faculty. From 1992 to 2000, he performed and recorded with avant garde drummer, Rashied Ali, who is best known for his playing with John Coltrane. Chase has also been a member of Your Neighborhood Saxophone Quartet since 1981.


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Author & Instructor

Roberta Radley is assistant chair in the Ear Training Department at Berklee College of Music. A Berklee graduate with a degree in composition, she joined the faculty in 1976. Since then, Radley has taught a wide range of ear training classes, using innovative methods to help students hear music more analytically, and earning recognition for outstanding achievement in music education from Berklee.

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Coauthor of the department core curriculum Ear Training 1–4 books, as well as author of the Harmonic Ear Training DVD, Radley has traveled widely on behalf of Berklee, holding scholarship auditions, working with affiliated schools, and presenting seminars across the US and internationally. Additionally, Radley is an active performer as a pianist and vocalist, and is an experienced private piano and voice instructor. Read Less

What's Next?

When taken for credit, Ear Training 1 can be applied towards these associated programs:

Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

We can also answer basic questions in the comments below. Please note that all comments are public.

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