Taking dictation from real music. Try focussing on one element, rather than writing a complete score. Verify your solution by checking a published score if possible. Remember that some orchestral instruments may not be written at concert pitch.

Using your sight-singing skills to sing a melody or rhythm to a friend, who can use it as an example for dictation.

Use Bach chorales as sight-singing examples for a group of four or more people. It helps to have friends in all vocal ranges, but it isn't necessary. Remember to use solfa syllables, and avoid the chorale's text.

If a mechanical device, like a fan, is emitting a constant pitch, you can practice singing harmonic intervals with that device.

Perform exercises for your friends - long and short - on different instruments. This will help to build competence in musical contexts more realistic than a computer can provide, but still in an isolated situation.

Crowell's Eyes and Ears is an open-source sight-singing text, available for free from the URL listed above. This book contains about 400 melodies from the public domain, along with some helpful instructions.

Hall's Studying Rhythm is a small and expensive - but useful - book, containing a collection of rhythms to be spoken or spoken-and-clapped. This book also contains some three-part and four-part rhythms. The exercises increase in difficulty. The book offers some performance tips.

Hindemith's Elementary Training is a classic aural skills text, but it was originally published in 1949, and a lot of research has taken place since then about how people learn aural skills. The book offers a wide variety of exercises, especially to develop coordination when performing multiple independent musical lines. We recommend that you ignore Hindemith's instructions, and use tonic solfa syllables. For more information on tonic solfa, refer to Tonic sol-fa at http://en.wikipedia.org/wiki/Tonic_sol-fa

Hoffman's The Rhythm Book was developed specifically for the takadimi rhythm system. Like Hall's text, The Rhythm Book progresses fro easy to difficult exercises, and offers helpful instructions for performance.

Karpinski's two texts are the result of two decades of research about how musicians acquire aural skills. The Manual contains instructions, exercises, and tips on training yourself to hear musical elements and real music, and how to perform and imagine music. The Anthology is organized in chapters that coincide with the topics discussed in the Manual, and contains very few instructions. The Anthology contains a wide variety of musical excerpts, some from the public domain and others under copyright, taken from the "classical music" canon and from national repertoires. There are some three-part and four-part exercises, which should be performed by a group of people leraning aural skills together.