The Form of Miles Davis' So What

“So What” is a renowned composition by jazz trumpeter Miles Davis, featured as the opening track on his seminal album “Kind of Blue.” The song showcases several distinctive musical elements and has become a quintessential piece in the realm of jazz music. This article will explore the form of “So What” and shed light on its significance within the genre of jazz.

AABA Structure

“So What” follows a 32-bar AABA structure, a common form found in many jazz compositions. This structure divides the song into four sections: A, A, B, and A. Each section consists of a specific number of bars, contributing to the overall musical form. The use of the AABA structure provides a balanced and cohesive framework for the composition.

Modal Jazz

“So What” is widely recognized as a prime example of modal jazz. Modal jazz is a style that emphasizes improvisation based on modes or scales rather than traditional chord progressions. In “So What,” the composition is set in the Dorian mode, creating a distinct tonal color and allowing for extended periods of improvisation by the musicians.

Harmonic Center

The harmonic center of “So What” revolves around the D Dorian mode. This mode is characterized by a minor scale with a raised sixth degree. The piece briefly modulates to the Eb Dorian mode, adding further harmonic variation. The simplicity of the harmonic structure in “So What” provides a solid foundation for the musicians to explore and experiment through their improvisations.

Instrumentation

“So What” features a jazz sextet comprising some of the most influential musicians of the time. The ensemble consists of Miles Davis on trumpet, John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. The unique combination of instruments lends itself to the rich and dynamic sound of the composition.

In conclusion, “So What” by Miles Davis is a remarkable composition that showcases the characteristics of modal jazz and the mastery of improvisation. Its AABA structure, modal framework, harmonic simplicity, and exceptional instrumentation contribute to its status as a timeless piece in the jazz canon.

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FAQs

What is the form of Miles Davis’ “So What”?

“So What” follows a 32-bar AABA structure. It consists of four sections: A, A, B, and Each section has a specific number of bars, creating a distinct musical form.

What is modal jazz, and how does it relate to “So What”?

Modal jazz is a style that emphasizes improvisation based on modes or scales rather than traditional chord progressions. “So What” is considered a prime example of modal jazz, as it is set in the Dorian mode and allows for extended periods of improvisation within that modal framework.

How does the harmonic center of “So What” contribute to its musicality?

The harmonic center of “So What” revolves around the D Dorian mode. This mode, characterized by a minor scale with a raised sixth degree, provides a distinct tonal color to the composition. The simplicity of the harmonic structure allows for greater freedom in improvisation and exploration by the musicians.

Who were the musicians involved in the recording of “So What”?

“So What” was performed by a jazz sextet led by Miles Davis. The ensemble featured Miles Davis on trumpet, John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums.

How does the AABA structure contribute to the overall composition of “So What”?

The AABA structure used in “So What” provides a balanced and cohesive framework for the song. It creates a sense of familiarity and allows for the development and variation of musical ideas within each section, adding to the overall musical narrative.

What is the significance of “So What” within the jazz genre?

“So What” holds great significance within the jazz genre as one of the most iconic compositions in jazz history. It is a prime example of modal jazz and has influenced countless musicians and compositions that followed. Its innovative approach to improvisation and harmonic simplicity has made it a timeless piece in the jazz canon.