miles davis all blues aos 3: popular music context lesson 1
TRANSCRIPT
MILES DAVIS ALL BLUES
AOS 3: POPULAR MUSIC CONTEXT
LESSON 1
KEY FACTS: LEARN THESE FOR HOMEWORK
COMPOSER: MILES DAVIS
YEAR: 1959
STYLE / GENRE: MODAL JAZZ
COUNTRY: USA
INSTRUMENTS: TRUMPET, ALTO SAX, TENOR SAX, PIANO, DOUBLE BASS, DRUMS
TONALITY: G MAJOR / G MIXOLYDIAN MODE
TIME SIGNATURE: 6/4 (JAZZ WALTZ)
KEY TERMS TO UNDERSTAND THIS LESSON:
12 BAR BLUES
MODES
RIFF
SWUNG QUAVERS
HEAD
IMPROVISATION
CHORD EXTENSIONS
COMPOSITION STARTING POINT: 12 BAR BLUES
BRIEF: ALL BLUES uses a mix of tradtional jazz features and elements and manipulates them to create an original piece of music. You will now do the same. You should use a typical 12 bar blues structure in G major as a starting point. Explore how Miles Davis develops this into All Blues, and then compose your own Blues piece, demonstrating your own flair and creativity throughout.
TIME ALLOWED: 10 HOURS.
15% OF YOUR OVERALL MARK.
QUESTION
HOW does Mile Davis turn
this into the more complex piece
of music ALL BLUES?
STANDARD 12 BAR BLUES IN G
POINTS TO CONSIDER & DISCUSSTEMPOTIME SIGNATUREINSTRUMENTATIONKEY SIGNATURE / TONALITYRHYTHMSCHORDSEXTENSIONS
MAKE A LIST OF YOUR KEY FINDINGS
10 MINUTE TASK1. SCORE THE BASIC 12 BAR BLUE IN G INTO MUSESCORE FROM THE PDF / HANDOUT PROVIDED - This will help you to get used to the basic functions of Musescore without having to think about being creative with your work.
INTO
WHAT WILL YOU DO TO TURN YOUR GENERIC 12 BAR BLUES FROM TASK 1 INTO AN ORIGINAL COMPOSITION?
QUESTION: HOW MANY NOTES IN A CHORD?
CHORDS AND EXTENSIONS
ANSWER: 3 OR MOREDON'T CONFUSE A TRIAD (3 NOTES ONLY - NORMALLY 1ST, 3RD AND 5TH) WITH A CHORD (WHICH CAN CONTAIN MANY DIFFERENT NOTES)
CHORDS AND EXTENSIONS
A basic chord (triad) uses degrees (notes) 1, 3 and 5 of it's' scaleWe may EXTEND by adding extra notes to it.
E.g. To create C7: (1)C, (3)E, (5)G, (7)B
DEGREE 1 2 3 4 5 6 7 8 9 10 11 12 13
NOTE G A B C D E F G A B C D E
DEGREES OF G SCALE (MIXOLYDIAN MODE)
A chord symbol is a set of instructions telling you how to play each chord
G7 : G triad (1,3,5) plus the 7th G,B,D,F
How would you build a G11 chord?
DEGREE 1 2 3 4 5 6 7 8 9 10 11 12 13
NOTE G A B C D E F G A B C D E
DEGREES OF G SCALE (MIXOLYDIAN MODE)
A chord symbol is a set of instructions telling you how to play each chord
G7 : G triad (1,3,5) plus the 7th G,B,D,F
How would you build a G11 chord?
FINALLY: You may alter (flatten or sharpen) any of the notes in a chord by putting a bracket around the # or b and degree of the scale.
KEYBOARD EXPLANATION GUITARIST EXPLANATION
CLASS TASK:
1. Experiment with chords on musescore or a keyboard / guitar until you come up with an altered 12 bar blues that you would like to use in your composition.
2. Enter into musescore your complete, altered 12 bar blues.
HOMEWORK (ON SHOW MY HOMEWORK)
1. DOWNLOAD AND INSTALL MUSESCORE ON YOUR PC / MAC / TABLET AT HOME.Download | MuseScore2. LEARNT THE KEY FACTS FOR ALL BLUES - YOU WILL BE TESTED ON THIS ON MONDAY 7TH3. LISTEN TO ALL BLUES AT LEAST ONCE A DAY (IT CAN BE IN THE BACKGROUND WHILE YOU ARE DOING OTHER THINGS.4. ENSURE YOU CAN CONFIDENTLY PLAY THE FOLLOWING SCALES (ONE OCTAVE, ASCENDING ONLY) ON YOUR INSTRUMENT OR (KEYBOARD IF YOU ARE A VOCALIST)• C MAJOR • C MINOR• G MAJOR• G MINORTHERE ARE VIDEO LINKS ATTACHED TO GUIDE IF NEEDED.
MILES DAVIS ALL BLUES
AOS 3: POPULAR MUSIC CONTEXT
LESSON 2
RECAP FROM LAST LESSON
WRITE OUT THE FOLLOWING KEY FACTS FOR ALL BLUES:
COMPOSER:
YEAR:
STYLE / GENRE:
COUNTRY:
INSTRUMENTS:
TONALITY:
TIME SIGNATURE:
KEY FACTS:KEY TERMS TO UNDERSTAND THIS LESSON:
12 BAR BLUES
MODES
RIFF
SWUNG QUAVERS
IMPROVISATION
HEAD
CHORD EXTENSIONS
COMPOSER: MILES DAVIS
YEAR: 1959
STYLE / GENRE: MODAL JAZZ
COUNTRY: USA
INSTRUMENTS: TRUMPET, ALTO SAX, TENOR SAX, PIANO, DOUBLE BASS, DRUMS
TONALITY: G MAJOR / G MIXOLYDIAN MODE
TIME SIGNATURE: 6/4 (JAZZ WALTZ)
SCALES AND MODES
1) ON YOUR INSTRUMENT (OR A KEYBOARD) PLAY A C MAJOR SCALE2) NOW PLAY A C MINOR SCALE
HOW ARE KEY SIGNATURES AND SCALES RELATED?
3) ON YOUR INSTRUMENT (OR A KEYBOARD) PLAY A G MAJOR SCALE4) NOW PLAY A G MINOR SCALE
SCALES AND MODES
1) ON YOUR INSTRUMENT (OR A KEYBOARD) PLAY A C MAJOR SCALE2) NOW PLAY A C MINOR SCALE
A SCALE IS QUITE SIMPLY A SERIES OF NOTES
A KEY SIGNATURE TELLS YOU THAT YOU SHOULD MOSTLY BE USING THE NOTES OF THAT SCALE!
ALTHOUGH THE MAJORITY OF SCALES YOU ENCOUNTER ARE MAJOR OR MINOR, MODAL SCALES ALSO EXIST. ALTHOUGH THEY MAY SEEM CONFUSING AT FIRST, THEY ARE JUST MORE OF THE SAME.
MIXOLYDIAN MODE
TO FIND MIXOLYDIAN MODE IN OTHER KEYS VISIT THIS WEBSITEhttps://www.basicmusictheory.com/c-mixolydian-mode
DORIAN MODE
THE CHEATS GUIDE TO WORKING OUT MODES
• Ionian mode (same as major scale): All the white notes, starting on C• Dorian: All the white notes, starting on D• Phrygian: All the white notes, starting on E• Lydian: All the white notes, starting on F• Mixolydian: All the white notes, starting on G (This is the mode used in
All Blues)• Aeolian/ (same as natural minor scale) All the white notes, starting on A, B, C,
D, E, F, G, A• Locrian: All the white notes, starting on B
then just transpose if you are in a different key.
DO NOT PANIC IF THIS SEEMS COMPLICATED - IN MY 25 YEARS OF BEING A MUSICIAN, I HAVE ONLY EVER NEEDED TO KNOW ABOUT THIS IN ORDER TO TEACH IT TO OTHERS.
PERFORMANCE TASK:Play dorian mode starting on a D on your instrument/ a keyboard.Play phrygian mode starting on an E on your instrument/ a keyboard.
COMPOSITION TASK:1. Choose a mode to compose in, and enter it as a scale into
Musescore.2. If needed TRANSPOSE this scale into the you have chosen to write
your piece in3. Compose a 4 bar melody using only the notes in your chosen mode.4. DEVELOP your melody into a 12 bar head – remember you should
be doing more copying and pasting of your original material than creating new.
8 BAR INTRO
PIANO TRILL - SUSTAINED
(FUNCTIONS AS A TONIC PEDAL)
SYNCOPATED SWUNG DRUMS - BRUSHES
RATHER THAN STICKS = SUBTLE, RELAXED EFFECT
AS INTRO BARS 1-8.BARS 9 & 10 SUSTAINED
BASS NOTES. RETURNS TO OPENING
RIFF BARS 11 &12
12 BAR HEAD
RHYT
HM
SEC
TIO
N12 BAR HEAD
0-20 secs 21-52 secs
BARS 1-8 AS INTRO, 9 & 10 - RESTS, RETURNS WITH
TRILL BARS 11 & 12
AS INTRO THROUGHOUT
PIZZICATO DOUBLE
BASS RIFF - SWUNG
QUAVERS
FRO
NTL
INE
BAR 5 - ENTERS WITH
2 BAR RIFF, REPEATED
BAR 5 - ENTERS WITH
2 BAR RIFF, REPEATED
RESTING THROUGHOUT
RIFF
FO
R 4
BARS
BAR 1-8 - RIFFBARS 9 &10 - CHANGE
TO LEGATO ACCOMPANIMENTBAR 11 & 12 - RIFF
BAR 1-8 - RIFFBARS 9 &10 - CHANGE
TO LEGATO ACCOMPANIMENTBAR 11 & 12 - RIFF
MUTED - COOL RELAXED, SUSTAINED MELODY
MUTED - COOL RELAXED, SUSTAINED MELODY
BAR 1-8 - RIFFBARS 9 &10 - CHANGE
TO LEGATO ACCOMPANIMENTBAR 11 & 12 - RIFF
BAR 1-8 - RIFFBARS 9 &10 - CHANGE
TO LEGATO ACCOMPANIMENTBAR 11 & 12 - RIFF
BARS 1-8 AS INTRO, 9 & 10 - RESTS, RETURNS WITH
TRILL BARS 11 & 12
AS INTRO THROUGHOUT
AS INTRO BARS 1-8.BARS 9 & 10 SUSTAINED
BASS NOTES. RETURNS TO OPENING
RIFF BARS 11 &12
53 secs - 1min 2 secs 1 min 4 secs - 1 min 35 sec
RIFF
FO
R 4
BARS
1min 36 sec - 1 min 46 1 min 47 secs - 3 min 53
sec
48 (4X12) BARS TRUMPET SOLO
RIFF
FO
R 4
BARS
UNMUTED - CLEAR, CRISPER SOUNDSTILL SMOOTH AND RELAXED.
SHORTER PHRASES, LESS SUSTAINED NOTES AND MORE SYNCOPATED RHYTHMS THAN HEAD
OFTEN IN HIGH RANGE OF INSTRUMENTRESTING
RESTING
3 mins 54 secs –4 mins 1 secs
RHYT
HM
SEC
TIO
NFR
ON
TLIN
E
RIFF
FO
R 4
BARS
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
48 (4X12) BARS4 mins 2 secs - 6 mins 4 secs-
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
RIFF
FO
R 4
BARS
48 (4X12) BARS6 mins 15 – 8 mins 16
6 mins 5 secs –6 mins 14 8 mins 17 –
8 mins 26
24 (2X12) BARS8 mins 27 – 9 mins 28
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
RIFF
FO
R 4
BARS
9 mins 29 –9 mins 38
YOUR NOTES HERE
12 BAR HEAD
RHYT
HM
SEC
TIO
N12 BAR HEAD
YOUR NOTES HERE
YOUR NOTES HERE
FRO
NTL
INE
RIFF
FO
R 4
BARS
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
10min 10 - 10min 19 10 mins 20 – 10 mins 50
RIFF
FO
R 4
BARS
10 mins 51 –11 mins 01 11 mins 02 - end
12 BAR CODA9 mins 39 – 10 mins 9
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
HOMEWORKComplete the structural overview of All Blues. The following keywords may be of use to youYou should use the set work summary provided to help you.
Muted Virtuosic
Mixolydian mode
Syncopated
Swung
Comping
Unmuted / open
ScalesRide cymbal
Chromatic