Ear Training 3 from various professors – 30-hour module – CFA 4

Form: 30 hours
CFA: 4
Teachers: Antonio Solimene, Claudio Ricci, Roberto Ruggeri, and Francesco Luzzio
Frequency: Weekly and two times a week
Entry Requirements: Ear Training 2 or Entrance Exam
Class size: 15 students
Places available: 6
Limitations: Open to students in the academic courses of sound technician and/or electronic music. Also open to students as a personalized courses for an additional fee (for information on costs, contact the Educational Secretariat).



  1. Spoken Solfeggio: N.Poltronieri, “Vol.II”
  2. Rhythmic Solfeggio: D.Agostini, “SolfeggisincopatiVol.I”
  3. Sung Solfeggio: A.Solimene, “Solfeggi sung in classical and modern style” (first half)
  4. Solfeggio sung with the DO mobile Ear training method

Ear training

  1. Recognition of the following melodic and harmonic intervals (Bicordi): – Major and minor ninths
  2. Tenth major and minor
  3. Eleventh right and augmented or Twelfth right
  4. Thirteenth major and minor

Melodic dictation:

  1. melodies of 8 bars with modulations on neighboring tones (dictates of R. Ruggieri) or short melodic fragments (lick) in classic and modern style (pentatonic major and minor, blues scale and modes) in all keys4. Rhythmic Dictation: Figurations from the text by D. Agostini, “Syncopated Solfeggi Vol. I”
  2. Harmonic Dictation:
  3. Revolt of the seventh chords of I – II – III and IV species on note date
  4. All seventh agreements
  5. Dictation of harmonic functions with lead voice and bass:
  6. Short harmonic sequences (4-8 beats) built on the most common harmonic turns with seventh chords also with use of revolutions (in various major and minor keys).
  7. For this writing three lines will be used:
  8. First line for the Lead voice
  9. Second line for the slash and rhythmic notation with the chords of the third
  10. bass lines
  11. Transcriptions of songs with triads and seventh chords (possible first extensions) taken from the pop, funk, fusion repertoire etc. national and international with the use of slash and rhythmic notation with chord marking, to be carried out at home with the use of the instrument. It will be appropriate to transcribe

Modal Dictation:

  1. All the modes of the major scale
  2. the Octophonic scale (ST and TS) and
  3. the melody, the drum rhythm and the bass line. (Melody analysis).
  4. Musical Speech
  5. Rhythmic and metric
  6. Engraved, semifinal, sentence and period or Stroke, notes of diatonic approach (Diatonic approach note)
  7. Notes of chromatic approach (Chromatic approach note)
  8. Note of double chromatic approach (Double chromatic approach note)
  9. Notes of surround (Delayed resolution)
  10. Note of tension with resolution towards a chordal note (Hi-Lo)
  11. Notes of extension of the chord (Unresolved tension)
  12. Modulation in melody
  13. Analysis of melodic cadences


  • N.Poltronieri, “Vol.II”
  • D.Agostini, “Solfeggi sincopati Vol.I”
  • A.Solimene, “Solfeggi sung in classical and modern style” (first half)
  • D. Agostini, “Syncopated Solfeggi Vol. I”

Written and Verbal Exam