So What

Summary

Introduction to “So What” and Modal Jazz

Miles Davis’s iconic track “So What” from the album Kind of Blue is arguably the most famous example of modal jazz. Unlike traditional jazz, which relies heavily on chord progressions and tonal centers, modal jazz focuses on playing within scales or modes over extended periods, offering a fresh harmonic landscape for improvisation.

What is Modal Jazz?

Modal jazz departs from typical tonal structures that revolve around a “home” chord or key center. Instead, it uses modes—specific scales derived from parent scales—to create a consistent tonal color without the need for frequent chord changes. In “So What,” the primary mode is Dorian, with the A section in D Dorian and the B section shifting half a step higher to E♭ Dorian.

Structural and Harmonic Foundations of “So What”

The Form: Classic 32-Bar A-A-B-A Structure

“So What” follows a classic jazz 32-bar form arranged as A-A-B-A, but with a modal twist. Instead of shifting through complex chord changes, the track relies on modal harmony, which creates an open, spacious sound.

The introduction to “So What,” possibly composed by Gil Evans, presents fascinating harmonic textures that are often overlooked. It incorporates modes outside the typical Dorian framework, such as Lydian sharp five and Aeolian modes layered with altered chords, creating a rich sonic palette.

• Lydian Sharp Five Mode: Constructed from the third degree of the melodic minor scale, this mode adds tension with augmented triads.
• Aeolian Mode: Highlighted by the characteristic flat six, giving a minor, somber feel.
• Constant Structures: Major triads in succession and identical position create unique harmonic colors.

The introduction’s complex harmonic language sets the stage for the modal exploration that follows.

The Signature Bass Line

A Surprising Bass Line

If you listen really closely, you will realize Paul Chambers’s bass line in “So What” is not what is traditionally assumed as the “correct” note in the mode. For example, during the E♭ Dorian section, Chambers plays a D natural instead of the expected D♭, creating a subtle but distinct tension.

• Walking Bass with Modal Flexibility: Chambers’s walking bass lines blend chord tones with chromatic and diatonic passing tones, showcasing a sophisticated melodic approach.
• Pedal Point and Oinato Techniques: At times, Chambers employs a pedal-like repetition of notes, adding a hypnotic groove that anchors the modal improvisation.

This bass line became a defining feature of the tune, highlighting how modal jazz challenges conventional harmonic roles.

Piano Voicings and Modal Cadences by Bill Evans

Innovative Use of Quartal Voicings

Bill Evans’s piano voicings in “So What” are critical to the modal sound. He frequently uses stacked fourths (quartal harmony), creating open voicings such as E minor 7 (with an 11th) moving to D minor 7 (with an 11th). This progression defines the modal cadence, a hallmark of modal jazz which moves within the mode rather than through traditional dominant-tonic relationships.

Constant Structures and Modal Colors

Evans’s right hand often plays triads like G major and F major triads stacked together, which complement the modal framework. His voicings remain consistent throughout the piece, emphasizing the modal atmosphere while supporting the soloists.

Exploring the Soloists’ Approaches in “So What”

Miles Davis’ Minimalist Melodic Language

Miles Davis’s solo is characterized by simplicity and space. He emphasizes the D minor triad with the 11th (G) and frequently uses rhythmic and melodic space to “sing” his phrases rather than overwhelm listeners with fast notes.

• Focus on Minor Triads: Davis largely sticks to the D minor triad and its extensions, occasionally hinting at the melodic minor scale.
• Blending Chromaticism and Modalism: His subtle chromatic approaches enrich the modal fabric without breaking its core.

John Coltrane’s Exploration of Melodic Minor

Coltrane’s solo contrasts with Davis’s by incorporating more notes and rhythmic activity, often exploring the melodic minor scale and pentatonic fragments.

• Busy and Complex Lines: Coltrane adds bebop vocabulary to the modal context, using chromatic passing tones and intricate rhythmic groupings.
• Melodic Minor Focus: He explores the boundaries of modal jazz by weaving in melodic minor scales and blues influences.

Cannonball Adderley’s Rhythmic and Melodic Inventiveness

Cannonball Adderley’s alto saxophone solo stands out for its rhythmic inventiveness and full embrace of the Dorian mode.

• Fast-Paced Bebop Lines: He delivers rapid triplets, syncopation, and blues-infused phrases.
• Extended Arpeggios: Adderley uses a mix of major and minor triads, chromatic passing tones, and modal runs to create tension and release.

Analysis of Modal Concepts and Characteristic Notes

Understanding Modes and Their Characteristic Degrees

Each mode used in “So What” has a signature note that distinguishes its sound:

• Dorian Mode: Characterized by a major sixth interval above the root (B natural in D Dorian).
• Aeolian Mode: Defined by the minor sixth (B♭ in D Aeolian).
• Lydian Sharp Five: Features a raised fourth and fifth, adding tension and brightness.
• Harmonic and Melodic Minor Influences: These scales introduce altered tones that add color and complexity to the harmony.

Modal Cadence: The Heart of Modal Jazz Harmony

A modal cadence typically involves moving between two chords within the same mode rather than traditional dominant-tonic cadences.

Practical Insights: Practicing “So What”

Bass Practice

Bassist should focus on:

• Playing chord tones with chromatic and diatonic passing tones.
• Experimenting with pedal points and ostinato patterns.

Piano Voicings

Pianists are encouraged to:

• Practice quartal voicings and constant structures in all 12 keys.
• Master the voicing pairs like G major and F major triads.
• Use rhythmic variety to mimic Bill Evans’s comping style.

Soloing Approaches

Soloists can experiment with:

• Emphasizing characteristic modal notes.
• Using minor triads with extensions like the 11th.
• Incorporating chromatic approaches and blues elements sparingly.
• Balancing melodic simplicity with rhythmic creativity.

Conclusion: The Legacy of “So What” in Modal Jazz

“So What” remains a masterpiece not only for its memorable melody but for its innovative use of modal harmony, unique bass lines, and masterful improvisations. The track illustrates modal jazz’s freedom from traditional harmonic constraints, inviting musicians to explore color, space, and mood in new ways.

The lessons drawn from this piece encourage musicians to listen deeply, practice diligently, and embrace the creative possibilities of modal jazz. Whether through Paul Chambers’s surprising bass lines, Bill Evans’s elegant voicings, or the inventive solos by Miles Davis, John Coltrane, and Cannonball Adderley, “So What” continues to inspire generations of jazz artists.

FAQ: Understanding Modal Jazz Through “So What”

Q1: What makes “So What” a modal jazz tune?
A1: It uses modes rather than traditional chord progressions, focusing on modes like Dorian to create harmonic color over extended sections.

Q2: What are modal cadences and how are they used here?
A2: Modal cadences move between chords within the same mode (like E minor 7 to D minor 7) without dominant-tonic tension, reinforcing modal harmony.

Q3: How can pianists emulate Bill Evans’s style in “So What”?
A3: Practice quartal voicings, constant structures, and use rhythmic dynamics to complement modal soloists.

By mastering these concepts, jazz musicians and enthusiasts alike can deepen their appreciation and performance of modal jazz classics like “So What.”