The musical links found in this investigation are. Analysis of “So What,” both the exposition and Davis’s trumpet … I remember, and vividly so, that the theme song for one of the shows was the Miles/Gil collaboration on Dave Brubeck's "The Duke" which appeared on the recording, "MILES AHEAD"(Columbia). So we asked Ransom to … One of two ballads on the LP (the other being "Flamenco Sketches"), "Blue in Green"'s melody is very modal, incorporating the presence of the dorian, mixolydian, and lydian modes.. Most notable is the version from the classic Miles Davis Album "Kind of Blue", with personnel: Miles Davis (trumpet), John Coltrane (tenor saxophone), Julian "Cannonball" Adderley (alto saxophone), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). In this analysis, I will cover one of the most significant recordings of Davis and his groups: "Boplicity," from the 1949-recorded and 1957-released album Birth of the Cool, which signals Davis's segue from bebop into a new genre called cool jazz. The melody is incredibly simple, and so is much of the playing, but it’s effect is extraordinarily beautiful. Miles Davis' So What transcription and analysis by Bart Marantz Introduction Miles Davis' original tune So What was first recorded in 1959 on his album Kind of Blue (Columbia CS-8163) with the famed "'56 Quintet". In this investigation Miles Davis' So What and Ravi Shankar's Raga Sindhi Bhairavi are used to find similarities between Modal Jazz music and Classical Hindustani music. A 1:42 Davis plays a few repeated notes; the piano returns. Fashion ... even if Miles had wanted to do so. About The Key Of D Dorian. Jazz history would be much different if Davis had not existed. This song, called “So What,” is one of the most recognizable jazz songs around the world. Miles Davis’s “So What” is one of the most famous compositions in jazz, instantly recognisable from its introductory bass phrase. For the A sections of the first chorus he bases phrases around the minor pentatonic scale. So What is written in the key of D Dorian.According to the Theorytab database, it is the most popular key among Dorian keys and the 25th most popular among all keys. Album Info Kind of Blue -Columbia, 1959 -Best Selling Jazz Album Ever -Began modal jazz movement Modal Jazz Movement Western classical music is constantly undergoing a series of complications and simplifications. In contrast Miles Davis every five years or so would forge ahead, and do to his restless nature he not only played bop but helped found cool jazz, hard bop, modal music, his own unusual brand of the avant-garde and fusion. As with many of Miles Davis’ albums, it is hard to dissimilate the work track by track, and it’s necessary to see “Freddie Freeloader” as an ‘answer’ to the preceding “&So What”. A: 0:48 . Part 2 uses the analytical methodology developed in Part 1 in a detailed analysis of “So What.” Chapter 4 shows how coordination and stratification are used as improvisational strategies by Davis, John Coltrane, Cannonball Adderley, Bill Evans, and Paul Chambers. The So What Chord is a specific type of Quartal Chord (we will discuss Quartal Chords in more detail in an upcoming lesson). 0:00 : head: A: 0:34 . intro: free rhythm. 1:36 Davis follows with a longer phrase: the piano is silent. Introduction. This sequence is repeated throughout the song. 1:38 As Davis's melodic line reaches its peak, he pulls slightly behind the beat. The D Dorian scale is similar to the D Minor scale except that its 6th note is a half step higher (B). 1166 Words 5 Pages. Feel free to skip to the parts most relevant to you. "So What," Miles Davis 32-bar AABA . Miles Davis was a leading figure of jazz musician the 1970s: at the time this piece was recorded. Miles Davis tends to leave rests of up to a bar in between phrases during which the piano plays melodic fills. Notice that when Miles Davis and the other cats on Kind of Blue play this song, they use those notes most of the time-but they DO NOT sound like they are playing scales at all. Since some here found my analysis of Miles Davis's "Circle" useful, I am posting my analysis of "So What," excerpted from the same book, The Influence of Claude Debussy's and Maurice Ravel's Music on Jazz, as Seen in the Compositions of Bix Beiderbecke, Bill Evans and Miles Davis, by Ed Byrne (© Ed Byrne 1998). Miles Davis So What Song Analysis Chords. Nothing ever sounded like that. B: 1:02 . Miles Davis tends to leave rests of up to a bar in between phrases during which the piano plays melodic fills. Dorian is like a major scale starting on the second scale degree, so it’s like playing the key signatures of C Major and Db Major. George Cole, who wrote The Last Miles: The Music of Miles Davis, 1980-1991, explains why Davis is so important: "Miles Davis is to jazz is what Mozart is to classical music or The Beatles are to popular music.He is by far the most influential jazz musician of all time and it's unlikely that anyone will ever supplant this position. Be sure to check out the other A2 musical pieces and AS musical pieces I have analysed on Ask Will Online. This arrangement was later performed and recorded as part of the album Miles Davis at Carnegie Hall. ‘So What’ Miles Davis Solo Analysis Miles Davis’ solo is very minimalistic mainly using crotchet and quaver rhythms throughout with the occasional triplet or semiquaver grace note. Bill DeMain's story on Miles Davis and Kind of Blue in our latest magazine is wonderful, but we wanted to make sure readers actually got to hear the sounds. Jazz is no different Miles went in the opposite direction of bebop, An Analysis Of Miles Davis. This song is one of the first and most famous instances of modal jazz, where the harmony is based on a scale rather than a rapidly changing series of chords. So What's bass line and melody are based on the D dorian scale, and the only changes are in the "B" section of the song, moving up a half step, There are two different compositions entitled "So What" performed by Miles Davis. ‘So What’ Miles Davis Solo Analysis Miles Davis’ solo is very minimalistic mainly using crotchet and quaver rhythms throughout with the occasional triplet or semiquaver grace note. Written by Miles Davis. Below is a complete analysis of the A2 Music jazz piece, Four by Miles Davis. Miles Davis Analysis – so What and Autumn Leaves 12 December 2017 Davis Solo Analysis Males Davis’ solo Is very minimalist mainly using crotchet and quaver rhythms throughout with the occasional triplet or semiquaver grace note. When John Coltrane split with Miles Davis in 1960, the trumpeter went through many different personnel combinations. Chambers (final melody). As for the name swap, it is known that there was a discrepancy between the liner notes written by Bill Evans and the titles as printed on the first edition of the LP. For the A sections of the first chorus he bases phrases around the minor pentatonic scale. So What’ Miles Davis Solo Analysis Miles Davis’ solo is very minimalistic mainly using crotchet and quaver rhythms throughout with the occasional triplet or semiquaver grace note. The chords used in Miles Davis So What, play in D dorian mode for eight bars then switching to e dorian then returns to D dorian after 4 bars. This chord voicing derives its name from the song So What from Mile Davis’ Kind of Blue album. The So What Chord Voicing is a classic and widely used Modern Jazz piano voicing. "Blue in Green" is the third tune on Miles Davis' 1959 album, Kind of Blue. It has since become a jazz standard. For the A sections of the first chorus he bases phrases around the minor pentatonic scale. Miles Davis plays a few short phrases, the pianist comping in response. Those changes included using saxophonists Sam Rivers or George Coleman before settling on Wayne Shorter, and discovering Herbie Hancock, Ron Carter, and Tony Williams to form what was one of the greatest of all modern mainstream jazz quintets. "Milestones" is a jazz composition written by Miles Davis.It appears on the album of the same name in 1958. A: 1:15 Miles Davis: The music’s right but the approach is wrong.Music listeners everywhere have heard at least a smidgen of the music from “the prince of darkness”. For the A sections of the first chorus he bases phrases around the minor pentatonic scale. Miles Davis’ Bitches Brew – 50 years old this month and still as challenging as ever – is the sound of chaos. Bill Evans wasn’t new to Miles Davis’s groups at the time of Kind Of Blue, he had actually left the group which he started playing in, in 1958. The sound of Miles Davis, especially in the context of his recordings with Gil Evans became the voice of an era.