Ear Training 2


Authored by Gaye Tolan Hatfield


Course Code: OEART-120

Next semester starts September 23

12 Weeks

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.

Read More

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
Read Less
Overview Syllabus Requirements Instructors
Request Info


Lesson 1: Take It from the Top! Reviewing the Foundation 

  • Diagnostic Evaluation
  • History
  • Interview with Lea Washington
  • Singing for Success
  • Sight Singing: Reviewing the Majors
  • Return to Rhythms
  • Assignment 1: Melodic and Rhythmic Videos

Lesson 2: Introducing Me, the Minor 3rd 

  • Jazz Melodic Minor—The Scale and the Sound
  • Tendency Tone Pairs
  • Jazz Melodic Minor—Melodies
  • Moving Forward: 6/8 Rhythms
  • Talking about Triads—Review
  • Assignment 2: Rhythm and Melodies

Lesson 3: Inversions and Crafty Rhythms 

  • Jazz Melodic Minor Melodies
  • Rhythms—Mixed Subdivisions
  • What Is a Chord Inversion?
  • Hearing Inversions
  • Melodic Dictations
  • Assignment 3: Transcribing

Lesson 4: Swinging into Harmonic Minor and 7ths 

  • Harmonic Minor—The Scale and the Sound
  • Harmonic Minor—Melodies
  • Swing vs. Straight Rhythms
  • Triads and Inversions
  • Singing Roots of Chords
  • Assignment 4: Performance and Dictation

Lesson 5: Harmonic Minor, the Jazz Waltz, and 7th Chords

  • Harmonic Minor Drills and Melodies
  • Swing in 3/4—Jazz Waltz
  • Rhythmic Reading
  • Major Key 7th Chords
  • 7th Chord Qualities
  • Assignment 5: Sight-Reading, Rhythmic Etude, and Melodic Dictation

Lesson 6: Lesson 1—5 Review and Midterm Preparation

  • Mastering the Melodies
  • Review of Sixteenth-Note Rhythms, and Swing Feel
  • Swing Review
  • Listen to the 7ths
  • 7th Chords
  • Assignment 6.1: Midterm Assessment—Part 1: Sight-Reading
  • Assignment 6.2: Midterm Assessment—Part 2: Dictation

Lesson 7: Exploring Natural Minor and 6/8 Time 

  • Natural Minor—Scale and the Sound
  • 6/8 in 6
  • Practicing and Conducting in 6/8
  • All the 7ths
  • Guide Tone Practice and Songs You May Know
  • Assignment 7: Natural Minor Scale and 6/8 Pattern

Lesson 8: Natural Minor Melodies and 6/8 Adventures

  • Natural Minor 
  • Tetrachords
  • Natural Minor Melodies and Sight-Reading Review
  • Melodic Dictation Review
  • Further Exploration 6/8
  • 7th Chord Review
  • Assignment 8: Melodic Performance, Rhythmic and Harmonic Dictation

Lesson 9: Traditional Melodic Minor and Cut Time 

  • Traditional Melodic Minor—Scale and the Sound
  • Tendency Tones
  • What Is Cut Time?
  • Cut-Time in Performance
  • Reading Cut Time Rhythms
  • Minor Chord Patterns—Natural Minor
  • Assignment 9: Traditional Melodic Minor and Cut Time Rhythms

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

  • Traditional Melodic Minor Melodies
  • Mixed Minor Melodies
  • Comparative Phrases
  • Sixteenth-Note Syncopation
  • More Minor Triads
  • Borrowing "Ti"
  • Assignment 10: Traditional Melodic Melodies and Rhythms

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

  • Natural Minor and Traditional Melodic Minor Melodies
  • Quarter-Note Triplets and Performance
  • Quarter-Note Triplet Subdivision
  • Thinking Ahead
  • 7th Chords in Minor
  • Assignment 11: Read and Perform Melodies

Lesson 12: Review and Create

  • Review All Minor Scales
  • Warming Up with Scales
  • Melodic Sight-Reading
  • Reading and Writing Rhythms
  • Cut Time Review
  • Quarter-Note Triplets
  • Minor Harmony—Triads and 7ths
  • Assignment 12: Final Assessment—Sight Reading
  • Assignment 12: Final Assessment—Dictation


Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Completion of Music for Beginners and 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



  • Students are required to record video for their assignments. Options for recording video include:
    • Smartphone
    • Digital camera
    • Webcam (using either video recording software, or the video recording tool that is built into the learning environment)


Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Classes. 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
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection


Gaye Tolan Hatfield


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.

Read More

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

Rich Greenblatt


Rich Greenblatt is a vibraphonist with "dazzling speed and a truly magical touch" writes John Blenn in 'Good Times Magazine'. He has recorded three CDs as a leader, ‘Hat Trick’(2009), ‘Hot and Dry’ (2003) and ‘Mooin’ (1998). Rich has performed and recorded with such great artists as Kurt Elling, Billy Mitchell, Dennis Irwin, Oscar Castro-Neves, Garrison Fewell, Kevin Hayes, Greg Hopkins, Winard Harper, Joe Hunt, Yoron Israel, The Barcelona Symphony Orchestra, and The English Chamber Orchestra.

Read More

Rich is an Associate Professor at the Berklee College of Music. He is an endorsing artist for Musser vibraphones and Vic Firth mallets. Read Less


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.

Get Info