These seven dictation templates of varying length and difficulty may be used at appropriate points in the theory curriculum. I have obtained the best results when student volunteers perform the pieces, even if this means changing the instrumentation. I always devote time to presenting the works as art objects, sharing relevant tidbits about their histories, texts, orchestrations, rhythmic and tonal topics, interpretations, and so on. I tend to begin class with these (and other dictation-style exercises) in order to give students sufficient time to hear, internalize, and try to reproduce them. The seven templates are given in increasing order of difficulty and in roughly increasing order of length.