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
TEMPO
POINTS TO CONSIDER & DISCUSS
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?

DON'T CONFUSE A TRIAD (3 NOTES ONLY - NORMALLY 1ST, 3RD AND 5TH) WITH A CHORD (WHICH CAN CONTAIN
MANY DIFFERENT NOTES)
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

DEGREES OF G SCALE (MIXOLYDIAN MODE)
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
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 G 11 chord?

DEGREES OF G SCALE (MIXOLYDIAN MODE)
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
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 G 11 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 | 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.

AOS 3: POPULAR MUSIC CONTEXT
LESSON 2

WRITE OUT THE FOLLOWING KEY FACTS FOR ALL BLUES:
COMPOSER:
YEAR:
STYLE / GENRE:
COUNTRY:
INSTRUMENTS:
TONALITY:
TIME SIGNATURE:

KEY FACTS:
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
IMPROVISATION
HEAD
CHORD EXTENSIONS

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

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.

TO FIND MIXOLYDIAN MODE IN OTHER KEYS VISIT THIS WEBSITE https://www.basicmusictheory.com/c-mixolydian-mode

• 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
0-20 secs
RESTING
THROUGHOUT
BAR 5 -
ENTERS WITH
2 BAR RIFF,
REPEATED
BAR 5 -
ENTERS
WITH 2 BAR
RIFF,
REPEATED
PIANO TRILL -
SUSTAINED
(FUNCTIONS AS A
TONIC PEDAL)
12 BAR
HEAD
21-52 secs
MUTED - COOL RELAXED,
SUSTAINED MELODY
12 BAR
53 secs -
HEAD
1min 2 secs 1 min 4 secs - 1 min 35 sec
BAR 1-8 - RIFF
BARS 9 &10 - CHANGE
TO LEGATO
ACCOMPANIMENT
BAR 11 & 12 - RIFF
BAR 1-8 - 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
MUTED - COOL RELAXED,
SUSTAINED MELODY
BAR 1-8 - RIFF
BARS 9 &10 - CHANGE
TO LEGATO
ACCOMPANIMENT
BAR 11 & 12 - RIFF
BAR 1-8 - 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
1min 36 sec -
1 min 46
SYNCOPATED
SWUNG
DRUMS -
BRUSHES
RATHER THAN
STICKS =
SUBTLE,
RELAXED
EFFECT
PIZZICATO
DOUBLE
BASS RIFF -
SWUNG
QUAVERS
AS INTRO
THROUGHOUT
AS INTRO BARS 1-8.
BARS 9 & 10 SUSTAINED
BASS NOTES.
RETURNS TO OPENING
RIFF BARS 11 &12
AS INTRO
THROUGHOUT
AS INTRO BARS 1-8.
BARS 9 & 10 SUSTAINED
BASS NOTES.
RETURNS TO OPENING
RIFF BARS 11 &12
48 (4X12) BARS
TRUMPET SOLO
1 min 47 secs - 3 min 53 sec
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
RESTING
3 mins 54 secs –
4 mins 1 secs

48 (4X12) BARS
4 mins 2 secs - 6 mins 4 secs-
YOUR NOTES HERE
6 mins 5 secs –
6 mins 14
48 (4X12) BARS
6 mins 15 – 8 mins 16
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
8 mins 17 –
8 mins 26
24 (2X12) BARS
8 mins 27 – 9 mins 28
YOUR NOTES HERE
9 mins 29 –
9 mins 38
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

12 BAR
HEAD
9 mins 39 – 10 mins 9
YOUR NOTES HERE
12 BAR
10min 10 -
HEAD
10min 19 10 mins 20 – 10 mins 50
10 mins 51 –
11 mins 01
YOUR NOTES HERE
YOUR NOTES HERE
YOUR NOTES HERE
12 BAR CODA
11 mins 02 - end
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
YOUR NOTES HERE
YOUR NOTES HERE

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.
Chromatic
Ride cymbal
Muted
Unmuted / open
Scales
Mixolydian mode
Virtuosic
Comping
Swung
Syncopated