Ear Training Fundamentals

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Authored by Roberta Radley

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Course Code: OEART-116

Next semester
starts Jan 12, 2026

12 Weeks

Level 1

Level 1

3-Credit Tuition

$1,575

Become a more interactive and confident musician, performer, and composer by learning how to really hear what is going on within the music. This course will teach you to hear what you see and to see what you hear. You’ll learn to read, perform, and notate basic rhythms, melody, and simple chord progressions. Ear Training Fundamentals will also introduce you to conducting and to the movable Do solfège system. Through transcription exercises and the study of contemporary songs, you’ll gain a deeper awareness of how music works and how to express the language of music more effectively. Ear Training Fundamentals is for students who are just getting started with ear training.

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By the end of this course, students will be able to:

  • Identify time signatures
  • Determine major and minor keys
  • Recognize diatonic I, IV, V chord progressions
  • Read, perform, and notate simple rhythmic phrases
  • Conduct in simple time signatures (2/4, 3/4, 4/4)
  • Use the movable Do solfège system to read, sing, and transcribe major key melodies in treble and bass clefs
  • Transcribe and perform music accurately
  • Create and improvise using the blues pentatonic scale
  • Compose and improvise stepwise melodies
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Overview Syllabus Requirements Instructors Related Music Career Roles
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Syllabus

Lesson 1: Determining the Time Signature and Conducting

  • Demonstrate the Beat
  • Tempo and Notation
  • Determine the Time Signature via the Downbeat
  • Simple Time Signatures
  • Beyond the Quarter Note
  • Count the Beats in 2/4
  • Count the Beats in 3/4
  • Conducting
  • Identify the Time Signature of Familiar Songs
  • Discover the Time Signature of Popular Songs
  • Discussion 1.1: Routine Practice
  • Assignment 1.1: Perform Rhythm Examples in 2/4 and 3/4
  • Assignment 1.2: Determine the Time Signature by Conducting and Counting

Lesson 2: Introducing 4/4 Time and the Counting Method

  • Counting in 4/4 Time
  • Conducting in 4/4 Time
  • Reading Rhythms in 4/4 That Include Eighth Notes
  • Making It Real: Rhythmic Performance in Three Stages
  • At the Rehearsal
  • Preparing for the Performance Stage
  • On the Performance Stage
  • Discussion 2.1: Preparation Is Everything
  • Assignment 2.1: Sight-Reading Rhythms in 4/4
  • Assignment 2.2: Making It Real—Onstage Performance

Lesson 3: Hearing Major vs. Minor and Transcribing Rhythms in 4/4

  • Major or Minor?
  • Determine Do from the Bass Line
  • Determine Do from the Melody
  • Relative Pitch
  • Is the Song in a Major or Minor Key?
  • Apply the Vertical Approach
  • Major or Minor—the Definitive Answer!
  • The Same Song but with a Different Twist
  • Transcribe Rhythms in 4/4
  • Discussion 3.1: Why Transcribe?
  • Assignment 3.1: Is the Song in Major or Minor?
  • Assignment 3.2: Rhythmic Transcription in 4/4

Lesson 4: The Major Scale and Movable 'Do' Solfège System

  • The Major Scale
  • Solfège
  • Compare the Movable and Fixed Do Solfège Systems
  • Why We Sing
  • Sing the Major Scale with Numbers and Solfège Syllables
  • Use the Sol-Fa Method with the Vertical Tone Ladder
  • Transcribing 4/4 Rhythms Using the Rhythm Grid
  • Two Rhythms that Involve Single Eighth Notes
  • Discussion 4.1: Why Sing?
  • Assignment 4.1: Singing Sol-Fa
  • Assignment 4.2: Rhythm Transcription in 4/4

Lesson 5: More About the Sol-Fa Method and Memorizing Rhythm Words

  • Use the Sol-Fa Method when Listening
  • Make Sol-Fa Real with Familiar Melodies
  • Open the Book: More Popular Song Melodies
  • Two-Beat Rhythm 'Words'
  • Discussion 5.1: The Language of Music
  • Assignment 5.1: Transcribe the Melody Using the Sol-Fa Method
  • Assignment 5.2: Compose, Notate, and Perform an Original 12-Bar Rhythm Song in 4/4

Lesson 6: Music Literacy: Reading and Writing Major Key Melodies

  • Hear What You See: Reading Melodies in the Treble Clef
  • Use the Dry Solfège Method
  • Making Dry Solfège Real
  • Read and Sight-Sing Stepwise Melodies in the Treble Clef
  • See What You Hear: Notate Melodies in the Treble Clef
  • Déjà Vu: Revisiting Sol-Fa Melodies with Standard Notation
  • Open the Book: Read Transcribed Rhythms
  • Discussion 6.1: Reading and Writing—Basics for Musicians
  • Assignment 6.1: Read and Sing Major Key Melodies Using Solfège
  • Assignment 6.2: Melodic Dictation Featuring Stepwise Motion

Lesson 7: Tonic I Chord, Tendency Tone Pairs, and Rhythms in ¾

  • Hear the Tonic I Chord
  • The Look of the I Chord
  • A Musical Round: Based on the Tonic I Chord
  • Tendency Tone Pairs
  • Memorize the Tendency Tone Pairs Song
  • Open the Book: Recognizing Tendency Tone Pairs in Songs
  • Read Rhythms in 3/4
  • Making It Real: Rhythmic Reading in 3/4 for the Audition
  • Discussion 7.1: We’ve Crossed the Halfway Mark
  • Assignment 7.1: Sing the Tendency Tone Pairs Song from Memory
  • Assignment 7.2: Rhythmic Reading in 3/4

Lesson 8: Harmonic Hearing: Adding the IV and V Chords

  • Relating the Tendency Tone Pairs to I, IV, V Harmony
  • Tonic vs. Non-Tonic Function of the I, IV, and V Chords
  • The Dominant V and Subdominant IV Chords
  • Imagine a Rubber Band
  • Listen to the Bass Line
  • Making It Real: Identify the I IV I and I V I Chord Progressions in Songs
  • Read and Notate Bass Lines in the Bass Clef
  • Bass Line Reading in the Bass Clef
  • Open the Book: Rhythm Transcription in 3/4 Time
  • Workshop: Rhythms in 3/4 Matching
  • Discussion 8.1: Harmonic Hearing
  • Assignment 8.1: Identify the Chord Pattern as Either I IV I or I V I
  • Assignment 8.2: Reading and Singing Bass Lines in Bass Clef

Lesson 9: Memorizing I, IV, V Chord Progressions and Blues Harmony

  • Hear I, IV, V Chord Progressions
  • The Harmonic Blueprint of the Blues
  • The Benefits of Memorizing Common Chord Patterns
  • Apply the Vertical Approach for Hearing Harmony
  • Really Making It Real: Transcribing the Chords of a 'Real' Song
  • Open the Book: Transcribing Rhythms in 4/4 Using the Opening Clues
  • Discussion 9.1: Ear Training Is 50% Brain Training
  • Assignment 9.1: Sing the I, IV, V Bass Lines
  • Assignment 9.2: 'Making It Real' Harmonic Transcription

Lesson 10: Melody + Bass Line = Harmony

  • The Relationship Between Melody and Harmony
  • What Is an 'Important' Melody Note?
  • Melodies and Their Harmonic Accompaniment in Songs
  • Determine the Harmony to Popular Song Melodies
  • Singing Duets
  • The Next Step: Harmony Leads to Melody
  • The Lead Sheet Notation of a Melody
  • Discussion 10.1: Making It Real
  • Assignment 10.1: Determine the Harmony from the Melody
  • Assignment 10.2: Sing Duets

Lesson 11: Improvising - Playing by Ear

  • Improvise as Part of the Practice Routine
  • In the Practice Room
  • The Vocabulary of the Blues Scale
  • The Blues Scale in Action
  • The Next Step: Transcribe Blues Solos
  • Determine the Exact Rhythmic Notation of a Melody Using the Lyrics
  • Plan B: Start with the Lyrics that Fall on Downbeats
  • Discussion 11.1: Where Does Your Inspiration Come From?
  • Assignment 11.1: Improvise in the Major Scale
  • Assignment 11.2: Improvise with the Blues Scale Singing or Playing the Blues (or Both!)

Lesson 12: Rehearsal and Final Encore Performance

  • Rhythm Rehearsal
  • Read and Perform Rhythms
  • Assignment 12.1: Read and Perform 4/4 Rhythm Charts with Popular Songs
  • Transcribe Rhythms
  • Melody Rehearsal
  • Recognize Major Key Melodies Using the Sol-Fa Method
  • Read and Sight-Sing Major Key Melodies and Bass Lines
  • Singing Duets: Melody + Bass Lines = Harmony
  • Assignment 12.2: Duet Performances Featuring the I, IV, and V Chords
  • Harmony Rehearsal
  • Assignment 12.3: Transcribe the Chord Progression to Popular Songs
  • Looking Forward: Improvise over a Dominant Seventh Chord
  • Discussion 12.1: Take a Bow!

Requirements

Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Completion of one of Music For Beginners, Music Application and Theory, Music Theory 101, or Music Theory and Composition 1 or equivalent knowledge and experience is required.

Textbook(s)

Recording

  • 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)

Software

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

Instructors

Roberta Radley
Roberta Radley

Author & Instructor

Roberta Radley retired from Berklee’s Boston campus in 2021 and was awarded the honorary title of Chair Emeritus, leaving behind the legacy of a 50-year teaching career. She had served as the assistant chair of the Ear Training department since 1997.

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A Berklee graduate with a Bachelor’s degree in composition (and a Master’s degree in Linguistics from University of Massachusetts), she joined the faculty in 1976. Since then, Roberta has taught a wide range of ear training and theory classes, using innovative methods to help students hear music more analytically, and has earned recognition for outstanding achievement in music education. As assistant chair of Berklee’s Ear Training department, she oversaw and co-authored the core curriculum, Ear Training 1–4. She has also written two ear training books published by Sher Music, The Real Easy Ear Training Book, and Reading, Writing and Rhythmetic.

One of its leading pioneers, Roberta joined the Berklee Online School in 2002 and continues to be active as an author and instructor. She is the author of several Berklee online courses: Harmonic Ear Training, Ear Training 1, and Ear Training Fundamentals. Since retiring from her administrative duties on campus, Roberta finds teaching in the online school a wonderful new chapter in her seasoned academic career. Thriving in the online environment, Roberta is quoted as “I’ve found my peeps with the online student community.” She received two awards for her teaching excellence in 2020: Berklee’s Distinguished Faculty Award; and The Online and Professional Education Association (UPCEA) New England Regional award—both honoring Radley’s commitment to online teaching.

A life-long lover and maker of music, Roberta also is a knitting activist (ask her about that!), a jigsaw puzzle aficionado, and a year-round lover of gardening. But above all, what brings her true joy… is teaching. Read Less

Cercie Miller
Cercie Miller

Instructor

Saxophonist-Composer, Cercie Miller leads the Cercie Miller Quartet, a group nominated as “Outstanding Local Jazz Act” (Boston Music Awards) and “Best Local Jazz Act” (Boston/ Phoenix/ WFNX Best Music Poll). Ms. Miller attended New England Conservatory where she was a pupil of Joseph Allard, and was awarded National Endowment of the Arts Study Grants to study with saxophone masters David Liebman and Jerry Bergonzi. While still at NEC, Ms. Miller was a founding member of Your Neighborhood Saxophone Quartet. Ms. Miller has worked with many other artists including singer-songwriter Patty Larkin, jazz vocalist Lisa Thorson,  harpist Deborah Henson- Conant and vocalist Didi Stewart. The Cercie Miller Quartet has released two recordings to critical acclaim: “Dedication” (Stash) and “Blue Vistas” (Jazz Project). 

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Cercie Miller is a passionate music educator. Ms. Miller is Assistant Professor of Ear Training at Berklee College of Music. Ms. Miller is also Jazz-World Music Program Director at Wellesley College, where she is Senior Music Instructor of Jazz Saxophone, and the Director of Wellesley BlueJazz Big Band . Ms. Miller has taught Jazz History and Jazz Theory at Wellesley College, History of Jazz at Northeastern University, and received the Bok teaching award for her assistant teaching in Jazz History at Harvard University.  Read Less

William Brinkley
William Brinkley

Instructor

Bill Brinkley is the developer and former director of the Center for Computer Aided Instruction in Music, Berklee’s first research facility investigating the use of computer technology in a music curriculum. A Berklee graduate with a degree in composition, Bill joined the faculty in 1976. During his 15 years at the college, Bill was also a highly respected professor, teaching ear training, solfege, arranging, harmony, jazz counterpoint, ensembles, and private guitar lessons, and authoring two jazz counterpoint courses and a music copying course. Bill started out as a rock and R and B guitarist in his native Georgia, eventually joining Motown to work with David Ruffin after the singer left the Temptations. He became one of Boston’s most proficient jazz guitarists, playing in numerous bands with top area musicians like Jerry Bergonzi, Grover Mooney, and Garrison Fewell. An in-demand music copyist and transcriber, Bill has worked for Harry Connick Jr., the Boston Pops, George Benson, Lyle Mays, and classical composer Thomas Oboe Lee. He continues to work as a musician, as well as a graphic designer and music technology consultant.

Paul Stiller
Paul Stiller

Instructor

Paul Stiller is a graduate of Berklee College of Music and the University of Wisconsin, Eau Claire. He has been on the Ear Training faculty at Berklee since 1995 and has taught Ear Training 1-4, Rhythmic Ear Training, Performance Ear Training for Voice 1 & 2, Voice lessons, and a choral ensemble.

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Aside from teaching, he has been an active adjudicator and clinician with numerous college and high school groups throughout the US and Japan.

He is a founding member, producer, arranger, and vocal percussionist for the a cappella group Vox One, which is comprised of all Berklee faculty.

He has opened for Stevie Ray Vaughan, Ray Charles, Atlanta Rhythm Section, Dwight Yoakam, Chicago, and the Woody Herman and Count Basie Orchestras.

Commercial work includes Sears, TCBY Treats, State Farm Insurance, Hood Milk, Pontiac/GMC, Superior Coffee, International Trucks, Sharp, and Dr. Pepper.

Paul received the 2012 Berklee Distinguished Faculty Award, and the 2013 Alumni Distinguished Achievement Award from the University of Wisconsin, Eau Claire. Read Less

What's Next?

When taken for credit, Ear Training Fundamentals can be applied towards the completion of these related programs:

Related Certificate Programs

Related Degree Majors

Related Music Career Roles

Employers look for skills learned in this course, when hiring for the following music career roles:

Accompanist

Conductor

Music Director (Church)

Music Director (Orchestra)

Music Director (Performing Artist/Band)

Piano Tuner

Session Conductor

Transcriber
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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.

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