The second volume in a four-part series, this Open Educational Resource (OER) continues a
collection of melodies to support beginning and intermediate ear training study. The melodies in
this resource contain musical attributes in major and minor, simple and compound meters, and
bass and treble clefs, with melodic contours that include large and frequent leaps, and rhythmic
motives with multiple subdivisions of the pulse.

The fourth volume in a four-part series, this Open Educational Resource contains melodies to
support intermediate ear training study. The melodies are organized primarily with melodic
considerations, beginning with diatonic melodies, followed by melodies in C-clefs, then
melodies with chromaticism, and ending with modulations. Many of the melodies have
significant rhythmic motives, with a variety of subdivisions for the pulse. Instructors will notice
several Russian melodies that use the Russian alphabet for the title, followed by the translation.
When I came across the collection of Russian melodies, I could not resist learning a little about
the Russian alphabet and including it in the resource. There are also several Scottish melodies;
the less-challenging Scottish melodies explore the C-clefs, presented first in either the bass or
treble clef, followed by a C-clef to illustrate the relationship between the two clefs.

This Open Educational Resource (OER) was originally inspired to make sight-singing materials
more accessible for the students at The Hartt School, University of Hartford. This is the first of a
four-part resource.

The third volume in a four-part series, this Open Educational Resource (OER) contains melodies
to support intermediate ear training study. The melodies are separated into simple and compound
meter, organized with rhythmic considerations. A few melodies may seem out of place regarding
meter, but are appropriate regarding rhythmic characteristics, for example, the exercises in 5/4
and 7/4 are placed with simple meter. The 3/8 example was intended to bridge the gap between
simple and compound meter, but formatting dictated the 3/8 melody be placed in the 3/2 and 2/2
section. The order is not a prescription, but a presentation of melodies with similar characteristics
that should be applied appropriately to respective curricular objectives. Melodies have been
presented in the treble and bass clefs, in major and minor key signatures through five sharps and
four flats, ensuring an accessible range from A3 to D5 (with middle-C as C4), with the exception
of songs with a broad range that leave no alternative. One note: The first eight measures of #7,
Deign My Voice to Hear, is used in Sight-Singing Level I for Beginning Ear Training Study (#6)
because of the appropriate musical attributes for the first level, and included here with the rest of
the melody applicable at this level.