So What
The defining modal jazz composition from Miles Davis' landmark 1959 album Kind of Blue. So What revolutionized jazz by abandoning traditional chord progressions in favor of static modal harmony, using only two chords across 32 bars. This simplicity forces musicians to focus on melodic invention, phrasing, and rhythmic development rather than navigating complex changes. The tune's iconic bassline and relaxed swing feel made it one of the most influential recordings in jazz history.
Notation
Section Analysis
Summary
Sixteen bars of D Dorian mode, establishing the primary tonal center with no harmonic movement.
Harmonic Insight
This section exemplifies modal jazz at its purest. With no chord changes to navigate, the improviser must create interest through melodic development, rhythmic variation, and dynamic control. The static harmony encourages exploration of the D Dorian sound world (D E F G A B C) and rewards patience and space. Listen to how Miles Davis builds his solo gradually, using motivic development and call-and-response with the rhythm section.
Scale Guide
- Dm7: D Dorian (D E F G A B C) - use the natural 6th (B) and natural 7th (C) that distinguish Dorian from natural minor
- Focus on the characteristic Dorian sound: the raised 6th gives it a brighter quality than Aeolian
- Explore tensions: 9th (E), 11th (G), 13th (B) all sound great over Dm7
Practice Tips
- Start simple: play just a few well-chosen notes rather than running scales up and down
- Use space effectively - silence is just as important as sound in modal playing
- Build phrases gradually: start with a simple motif and develop it through repetition, variation, and expansion
- Practice playing "horizontally" through the mode rather than thinking vertically about chord tones
- Work on making the Dorian mode sing: emphasize the characteristic 6th scale degree (B)
- Listen to the original recording repeatedly to internalize the feel and phrasing approach
- Try playing just chord tones (D F A C) first, then add color tones one at a time