Columbia Bible College Theory Placement Form

Transcription

1 Columbia Bible College Theory Placement Form The diploma program in worship arts at CBC (which is the basis of our BA program), seeks to prepare you for ministry within a local church setting. One of the components in most church worship experiences is music in some form. Therefore, understanding and being able to communicate in musical language to other musicians is essential. As such, there is an expectation that those entering the worship arts program will have a background and/or a willingness to learn musical skills. This theory placement form, and a keyboard proficiency interview will determine which theory and keyboard classes you will start with in the Worship Arts programs at CBC. This is not a test, and you should not study. It is simply a way for us to determine your starting level so that we can place you in classes appropriate to your musical understanding and experience. Section 1 of this form contains basic music theory. Satisfactory completion of this page of the form (and accompanying keyboard proficiency) will place you in Contemporary Music Theory I. Those students who are unable to complete the first page will need to take Music Fundamentals first, so that they have a firm grasp of the basic building blocks of music before progressing to more advanced material. Section 2 covers basic harmony, and section 3 explores more advanced contemporary harmony and musical concepts. Please complete as much of the form as you are able to complete so that we can place you in the optimum class for your skill/knowledge level. Satisfactory completion of section 2 will result in placement in Theory II, and satisfactory completion of section 3 will result in placement in Theory III. While it may be tempting to study or look up answers in order to avoid taking a lower level of theory/keyboard, we have found that students who do this struggle in theory classes and ultimately are less successful in our program. We would like to get an accurate evaluation of your musical understanding so that you are not overwhelmed by the material in the classes you enter. You may, however, use a keyboard or an instrument of your choice to aid you in writing this test. Please complete the attached theory test and return via mail to: Columbia Bible College: Admissions 2940 Clearbrook Rd. Abbotsford, B.C. V2T 2Z8 OR fax to # Attention: Admissions/Worship Arts Department OR scan your written test and it to admissions@columbiabc.edu

2 Columbia Bible College Demonstration of Keyboard Skills Keyboard skills are often required for those in worship leadership. Playing parts, writing out vocal lines, and arrangement of songs can all be greatly aided by keyboarding skills. The Contemporary Theory classes at CBC are taken in conjunction with a private lesson keyboard lab that will help you apply what you are learning in class to your own level of keyboard skill. The keyboard proficiency interview, which will happen during your first week at CBC, will determine whether you have sufficient keyboard skills to enter the theory program your first year or whether you will need to take Keyboard Fundamentals as a foundation for further studies. For this test you will need to do the following: 1. Play one octave scales in the key of C, G, F, Am 2. Play solid and broken triads in the keys of C, G, F, Am 3. Prepare and perform a piece of your own choosing at your own level (please choose a song that you feel reflects your playing ability and supply the written sheet music for the instructor chord charts will not be appropriate for this section of the interview) 4. Clap a basic rhythmic pattern 5. Sight read a melodic line 6. Note: In addition, please bring some of the music that you were working on in your last piano/keyboard lessons for the instructor to review. For those entering with advanced theory and keyboard skills and seeking to challenge Contemporary Theory I or II and Keyboard Lab I or II please be prepared to do the following: 1. Play 2 or 4 octave scales, triads and chords (dominant & diminished 7th) in a variety of keys, 2. Play a prepared piece of comparable level to your playing ability, 3. Play a prepared piece with chord chart and/or lead sheet, 4. Playback a simple melody in any key by ear 5. Identify intervals within an octave by ear 6. Identify major, minor, minor & major seventh chords, diminished 7th chords and simple chord progressions by ear 7. Transpose and play a simple melody and/or chord chart 8. Sight read a lead sheet with appropriate accompaniment.

3 Columbia Bible College Theory Placement Form Name: Have you taken piano lessons? Yes No If yes how many years and when What book/level did you achieve in piano What was the last song you played and from what book: Other instruments you play: How long have you played and in what context (school band, church etc.) SECTION 1 - Basic Theory 1. Name the following notes:

4 2. Name the following intervals: 3. Write the following intervals ABOVE each of the given notes: 4. Write the following scales, ascending and descending, using the correct KEY SIGNATURE for each. Use whole notes: a. C major in the bass clef b. D major in the treble clef c. The major scale with Bb as the dominant in the treble clef 5. Write the following notes, using the correct KEY SIGNATURE for each and any necessary accidentals. Use whole notes: a. the TONIC note of F major b. the SUBDOMINANT note of A major c. the DOMINANT note of Eb major d. the TONIC note of Ab major e. the DOMINANT note of Bb major

5 6. Write whole steps, diatonic half steps, or chromatic half steps above or below the given pitch as indicated. ABOVE GIVEN PITCH BELOW GIVEN PITCH 7. Add barlines to these lines according to the time signature given: 8. Draw a diagram of the circle of fifths including all major and minor keys and showing their relationship to each other.

6 SECTION 2 - Contemporary Theory 1 1. Name the following intervals 2. Write the following intervals ABOVE each of the given notes. 3. Write the following scales, ascending and descending, using the correct KEY SIGNATURE for each. Use whole notes. a. A minor harmonic in the bass clef b. G minor, natural form, in the treble clef c. A major in the treble clef d. D minor melodic in the bass clef e. E major in the bass clef

7 4. Write the following triads, using the correct KEY SIGNATURE for each and any necessary accidentals. Use whole notes. a. the TONIC triad of E minor harmonic b. the TONIC triad of G major c. the SUBDOMINANT triad of F major d. the DOMINANT triad of A minor harmonic e. the DOMINANT triad of G 5. Terms and Symbols a. Terms- Match each musical term in the left with its English definition in the right column. (You will not use all of the definitions.) b. Explain each of the indicated signs in the following excerpt:

8 6. Identify the following chords stating (see example): a. the name of the chord, b. the inversion, c. the key it is in, d. and its relationship to that key. 5. Transpose the following chord chart down a minor 3 rd :

9 6. Use the work staff to reduce the chords to root-position or inverted triads. Next, in the blanks below provide a roman numeral symbol to identify each triad. 7. For each two-chord progression, identify the name of the cadence (authentic or perfect, deceptive, plagal, interrupted or half). Identify each chord with a roman numeral, then write the appropriate word in the blank provided. 8. Transpose the following melody into the key of A Major:

10 9. Add barlines to these lines according to the time signature given. Indicate on the given line whether it is compound or simple time. SECTION 3 - Contemporary Theory II 1. Identify the following modes as Dorian, Phrygian, Lydian, Mixolydian, Aeolian or Locrian:

11 2. Identify the following scales as pentatonic, minor pentatonic, blues, or whole tone: 3. Using whole notes, write the following chords including the correct KEY SIGNATURE for each and any necessary accidentals: a. ii7 of G major in first inversion b. iii#3 of Ab major in root position c. VI of B minor in second inversion d. 1Vmaj7 of C major in root position e. Vs of D major in root position

12 4. Identify the following chords stating: a. the name of the chord, b. the inversion, c. the major key it is in, d. its relationship to that key. 5. Transpose the following melody for Bb Trumpet:

13 6. On a separate sheet of paper, rewrite the following lead sheet into a Nashville Number system chart.