Ear Training 2


Authored by Gaye Tolan Hatfield


Course Code: OEART-120

Next Term Starts January 14

Level 2

Level 2

3-Credit Tuition


Non-Credit Tuition


Ear Training 2 is designed to help you learn essential musicianship skills applicable to all styles of music: the ability to read music notation, as well as the ability to recognize, imagine, remember, and notate musical sounds. 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. 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. Ear Training 2 will also improve improvisation skills, musical interaction in performance, and music perception in listening.

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

  • Accurately perform sight-singing of rhythms in common meters and diatonic melodies in major and minor keys, including all forms of the minor scale 
  • Listen and accurately dictate rhythms in common meters and diatonic melodies in major and minor keys
  • Accurately perform rhythms and melodies using moveable Do solfège syllables and conducting patterns
  • Demonstrate swing feels in 4/4 and 3/4 meters
  • Recognize triads, 7th chords, and diatonic major-key chord progressions
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Lesson 1: Take It from the Top! Reviewing the Foundation 

  • History
  • Singing for Success
  • Revisiting Major Key Solfège
  • Return to Rhythm
  • Assignment 1: Perform Notated Rhythmic and Melodic Material

Lesson 2: Introducing Me, the Minor 3rd 

  • Jazz Melodic Minor –  the Scale and the Sound
  • Jazz Melodic Minor –  Melodies
  • Moving Forward: 6/8 Rhythms
  • Review: Talking about Triads
  • Assignment 2: Jazz Melodic Minor/Eight-Bar Rhythm

Lesson 3: Inversions and Innovative Rhythms 

  • Jazz Melodic Minor Melodies
  • Rhythms
  • What Is an Inversion?
  • Hearing Inversions
  • Assignment 3: Jazz Melodic Minor Melodies/Triplet Sounds in 2/4 and 6/8

Lesson 4: Swinging into Harmonic Minor and 7ths 

  • Harmonic Minor – the Scale and the Sound
  • Swing vs. Straight Minor Motifs
  • Swing Rhythms in 4/4
  • Triad Inversions with All Triad Review
  • Assignment 4: Harmonic Minor Drill/Read and Perform Swing Rhythms

Lesson 5: Harmonic Minor Melodies and Swing Waltz 

  • Harmonic Minor Melodies
  • Swing in 3/4
  • Sing Swing
  • Major Key 7th Chords
  • Assignment 5: Harmonic Minor Melody and Swing Rhythmic Etude Performances

Lesson 6: Review of Jazz Melodic and Harmonic Minor 

  • Mastering the Melodies
  • Review: Triple Feel
  • Listen to the 7ths
  • Patterns with IMaj7, IVMaj7, and V7
  • Assignment 6: Testing Lessons 1-6 – Sight-Reading Melodies and Rhythms

Lesson 7: Exploring Natural Minor and 6/8 Time 

  • Natural Minor – the Scale and the Sound
  • Conducting in 6/8
  • Drilling in 6/8
  • 7th chords: II-7, III-7, and VI-7
  • Assignment 7: Natural Minor Drill – 6/8 Rhythms Exercise

Lesson 8: Natural Minor Melodies and 6/8 Adventures

  • Natural Minor Melodies
  • Adventurous 6/8
  • Combining Natural Minor with 6/8
  • Wrapping up 7ths
  • Assignment 8: Write, Conduct, and Film a Natural Minor Melody in 6/8 

Lesson 9: Traditional Melodic Minor and Cut-Time 

  • Traditional Melodic Minor – the Scale and the Sound
  • What Is Cut-Time?
  • Cut-Time in Performance
  • Minor Key Harmony
  • Assignment 9: Traditional Melodic Minor and Cut-Time Rhythmic Performance

Lesson 10: Traditional Melodic Minor Melodies and Sixteenth-Note Syncopation 

  • Traditional Melodic Minor Melodies
  • Sixteenth-Note Syncopation
  • Recognizing Rhythms
  • More Minor Chords: V-, ♭VII, and ♭III
  • Assignment 10: Traditional Melodic Melodies and Rhythmic Examples

Lesson 11: Reviewing Natural and Traditional Melodic Minor, with Quarter-Note Triplets 

  • Comparing Minor Melodies
  • Quarter-Note Triplets
  • Quarter-Note Triplets vs. Sixteenth-Note Pattern
  • Minor Harmony – Adding IV and ♭VI
  • Assignment 11: Natural Minor and Traditional Melodic Minor Performance/Quarter-Note Triplets

Lesson 12: Review and Create

  • Review All Minor Scales
  • Review All Rhythmic Concepts
  • Sight-Reading Practice Techniques
  • Minor Harmony Review
  • Assignment 12: Sight-Reading Rhythms and Melodies



Completion of Music Foundations and Basic Ear Training 1 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, B♭, D
  • Recognize simple major key harmonic patterns including the I, IV, and V chords

Required Textbook

Ear Training 2 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: 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 the following ways:

Phone: 617-747-2402

Email: bookstore@berklee.edu

Software Requirements

  • Finale Notepad, Finale (full version), or MuseScore
  • 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.

Mac Users

  • OS X 10.9 Mavericks or higher (click here for system requirements)
  • Latest version of Google Chrome

Windows Users

  • Windows 7 or higher (click here for system requirements)
  • Latest version of Google Chrome

Hardware Requirements

  • A built-in microphone or an external microphone plugged directly into your computer (via built in ports or an external audio interface)
  • 2 GB RAM (4 GB recommended)
  • 500 MB hard drive space
  • Speakers or headphones
  • Webcam
  • Internet connection with at least 4 Mbps download speed (http://www.speedtest.net to verify or download the Speedtest by Ookla app from your mobile app store)




Gaye Tolan Hatfield is a graduate of Berklee College of Music and a professor in the college’s Ear Training department. She has also taught in the Harmony, Voice, and Ensemble departments, and co-wrote and teaches the Berklee Online course Music Foundations. Her work outside of the college includes writing, arranging, transcribing, and performing locally as a vocalist, pianist, and flutist. She has assisted orchestrators for the Boston Pops, and in the summer of 2013, wrote a choral arrangement that was performed at the Pops 4th of July concert.

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Hatfield's compositions can be heard on a variety of television shows, including Navy NCIS, History Detective, The Young and the Restless, Revenge, NUMBER3, C.S.I. NY, Good Wife, and United States of Tara, in addition to the films Dear John and What To Expect When You're Expecting. She has also been a member of the Providence Singers, and penned an arrangement of "Someone to Watch Over Me" for their 2007-2008 Gershwin tribute concert.

Gaye earned 2015 and 2016 Daytime Emmy award nominations for her work as a member of the composing team for The Young and the Restless. Read Less


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