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 & DISCUSS TEMPO TIME SIGNATURE INSTRUMENTATION KEY SIGNATURE / TONALITY RHYTHMS CHORDS EXTENSIONS MAKE A LIST OF YOUR KEY FINDINGS

10 MINUTE TASK 1. 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 MORE DON'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' scale We may EXTEND by adding extra notes to it. E.g. To create C7: (1)C, (3)E, (5)G, (7)B

DEGREE NOTEGABCDEFGABCDE DEGREES OF G SCALE (MIXOLYDIAN MODE) A chord symbol is a set of instructions telling you how to play each chord G 7 : G triad (1,3,5) plus the 7th G,B,D,F How would you build a G11 chord?

DEGREE NOTEGABCDEFGABCDE DEGREES OF G SCALE (MIXOLYDIAN MODE) A chord symbol is a set of instructions telling you how to play each chord G 7 : 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 EXPLANATIONGUITARIST 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 | MuseScore 2. LEARNT THE KEY FACTS FOR ALL BLUES - YOU WILL BE TESTED ON THIS ON MONDAY 7TH 3. 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 MINOR THERE 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 SCALE 2) NOW PLAY A C MINOR SCALE HOW ARE KEY SIGNATURES AND SCALES RELATED? 3) ON YOUR INSTRUMENT (OR A KEYBOARD) PLAY A G MAJOR SCALE 4) NOW PLAY A G MINOR SCALE

SCALES AND MODES 1) ON YOUR INSTRUMENT (OR A KEYBOARD) PLAY A C MAJOR SCALE 2) 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 WEBSITE

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 in 3.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 RHYTHM SECTION 12 BAR HEAD 0-20 secs secs BARS 1-8 AS INTRO, 9 & 10 - RESTS, RETURNS WITH TRILL BARS 11 & 12 AS INTRO THROUGHOUT PIZZICATO DOUBLE BASS RIFF - SWUNG QUAVERS FRONTLINE BAR 5 - ENTERS WITH 2 BAR RIFF, REPEATED RESTING THROUGHOUT RIFF FOR 4 BARS BAR RIFF BARS 9 &10 - CHANGE TO LEGATO ACCOMPANIMENT BAR 11 & 12 - RIFF BAR RIFF BARS 9 &10 - CHANGE TO LEGATO ACCOMPANIMENT BAR 11 & 12 - RIFF MUTED - COOL RELAXED, SUSTAINED MELODY BAR RIFF BARS 9 &10 - CHANGE TO LEGATO ACCOMPANIMENT BAR 11 & 12 - RIFF BAR RIFF BARS 9 &10 - CHANGE TO LEGATO ACCOMPANIMENT BAR 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 FOR 4 BARS 1min 36 sec - 1 min 46 1 min 47 secs - 3 min 53 sec 48 (4X12) BARS TRUMPET SOLO RIFF FOR 4 BARS UNMUTED - CLEAR, CRISPER SOUND STILL SMOOTH AND RELAXED. SHORTER PHRASES, LESS SUSTAINED NOTES AND MORE SYNCOPATED RHYTHMS THAN HEAD OFTEN IN HIGH RANGE OF INSTRUMENT RESTING 3 mins 54 secs – 4 mins 1 secs

RHYTHM SECTION FRONTLINE RIFF FOR 4 BARS YOUR NOTES HERE 48 (4X12) BARS 4 mins 2 secs - 6 mins 4 secs- YOUR NOTES HERE RIFF FOR 4 BARS 48 (4X12) BARS 6 mins 15 – 8 mins 16 6 mins 5 secs – 6 mins 14 8 mins 17 – 8 mins (2X12) BARS 8 mins 27 – 9 mins 28 YOUR NOTES HERE RIFF FOR 4 BARS 9 mins 29 – 9 mins 38

YOUR NOTES HERE 12 BAR HEAD RHYTHM SECTION 12 BAR HEAD YOUR NOTES HERE FRONTLINE RIFF FOR 4 BARS YOUR NOTES HERE 10min min mins 20 – 10 mins 50 RIFF FOR 4 BARS 10 mins 51 – 11 mins mins 02 - end 12 BAR CODA 9 mins 39 – 10 mins 9 YOUR NOTES HERE

HOMEWORK Complete the structural overview of All Blues. The following keywords may be of use to you You should use the set work summary provided to help you. Muted Virtuosic Mixolydian mode Syncopated Swung Comping Unmuted / open Scales Ride cymbal Chromatic