So What

So What is the first track of the album Kind Of Blue and probably the most famous example of modal jazz. Here are a few key elements that will be developed in the course:

• Form: classic AABA, 32 bars.

• Modal Structure: “So What” is structured around a modal framework, specifically the Dorian mode. The piece primarily alternates between two modes: D Dorian and E♭ Dorian. This departure from traditional chord progressions allows for a more open and atmospheric sound, providing ample space for improvisation.

Almost never taught is the introduction that uses the lydian #5 and the aeolian modes.

• Harmonic Progression: The harmonic progression of “So What” is deceptively simple yet profoundly effective. It revolves around two chords: Dm7 (D minor seventh) and Ebm7 (E♭ minor seventh).

• Melody: The melody is the ostinato bass line, the signature of this song, but did you know that Paul Chambers played a different line than the one in the Real Book that everyone is playing? We will listen closely to the recording and discover something that will blow your mind!

• Bass line: How does Paul Chambers play over these two chords? You’ll find out!

• Piano voicings: With the help of the transcription we will analyse Bill Evans voicings on the head and during the solos.

• Solos: We will analyse and compare the 4 solos. Miles Davis‘s playing style is characterized by its economy of notes and expressive nuance, creating a sense of intimacy and introspection.

John Coltrane‘s solo is characterized by his virtuosic technique and emotional intensity. His playing style encompasses a wide range of textures and dynamics, from fiery bursts of energy to tender, introspective passages.

Cannonball Adderley’s solo is particularly notable for its melodic inventiveness, rhythmic drive, and emotive expression. His playing style is always characterized by its soulful tone and virtuosic technique.

Bill Evans‘s piano playing provides harmonic support and melodic embellishment throughout “So What.” His delicate touch and sophisticated harmonic voicings add a layer of complexity to the arrangement, enriching the overall texture of the ensemble. Evans’s improvisations are marked by their harmonic ingenuity and melodic sensitivity, weaving seamlessly in and out of the ensemble sound.