So What by Miles Davis

**blackwingchai** · 02-22-2011, 05:22 AM

Can anyone help me what is the chord progression of So What, tips on how to improvise on it, it would be appreciated if we have a music sheet. thanks.

**Drumbler** · 02-22-2011, 08:48 AM

Dm7 for 16 bars

Ebm7 for 8 bars

Dm7 for 8 bars

**MarkRhodes** · 02-22-2011, 08:58 AM

Yeah, what he said. Robben Ford, the guitar player, found himself in some jazz settings but know a lot of theory, or even the names for a lot of voicings he used. He said that a piano player explained "So What" to him this way: sixteen measures of white keys, eight of the black, eight more of the white. That's it

**Aristotle** · 02-22-2011, 09:04 AM

Originally Posted by blackwingchai

Can anyone help me what is the chord progression of So what,

The idea behind So What is actually the absence of "progression." It just kind of sits in the one place and doesn't progress to anywhere.

The introductory chordal vamp
X77787
X55565

Here is clear shot of it.

**Banksia** · 02-22-2011, 09:05 AM

I was too scared to answer this question because I'm sure this thread will end up 5 pages long with analysis. In which case, my "Dm, then Ebm" would have seemed trivial.

I'll start it then: One school of thought says that it's really G/A then Ab/Bb, not to mention the fact that it's in Dorian.

**Aristotle** · 02-22-2011, 09:10 AM

Originally Posted by markerhodes

a piano player explained "So What" to him this way: sixteen measures of white keys, eight of the black, eight more of the white.

But that ain't quite right, is it? Key of Db has two white keys.

**Aristotle** · 02-22-2011, 09:22 AM

Originally Posted by Banksia

I was too scared to answer this question because I'm sure this thread will end up 5 pages long with analysis.

How could it get passed five sentences?

not to mention the fact that it's in Dorian.

Not to mention? That's almost the only thing to mention. Why Dorian? Because it is the least disonant, basically no clash or "avoid" (hate that term) notes. The mode and voicings are bland, blank and neutral, and the chord voicing just wanders around the scale, so that the harmony of the song imposes no restrictions, boundaries or time constraints on the soloists melodic impulses. No "changes" to play "over."

What else is there?

**Banksia** · 02-22-2011, 09:40 AM

You don't think somebody will mention the chords being built on 4ths, rather than the usual 3rds?

**Aristotle** · 02-22-2011, 09:45 AM

Originally Posted by Banksia

You don't think somebody will mention the chords being built on 4ths, rather than the usual 3rds?

I thought I aleady did, posting the fingering, a video, and mentioning "voicing" in my last post twice - but if you want to insist I left out the word "fourths." OK. I could go back and put it in.

**MarkRhodes** · 02-22-2011, 09:47 AM

Originally Posted by Aristotle

But that ain't quite right, is it? Key of Db has two white keys.

No, it's not quite right, but it is what Robben Ford said a piano player told him about "So What." It made sense to him and he got through the gig.

**Aristotle** · 02-22-2011, 09:53 AM

Originally Posted by Banksia

You don't think somebody will mention the chords being built on 4ths, rather than the usual 3rds?

I drew the chord diagram, linked to a video showing in, and mentioned voicing twice and the blank, neutral harmony. But I didn't use the word "fourths." If I put it in, I'd still be short of five sentences.

**Banksia** · 02-22-2011, 10:03 AM

Originally Posted by Aristotle

I drew the chord diagram, linked to a video showing in, and mentioned voicing twice and the blank, neutral harmony. But I didn't use the word "fourths." If I put it in, I'd still be short of five sentences.

Sorry I didn't read that.

Hey! future posters!!! there's no need to mention the 4ths!

**Drumbler** · 02-22-2011, 10:35 AM

I have only one thing to say about this topic:

"So what? I'm mean really...so what?"

**blackwingchai** · 02-22-2011, 10:17 PM

thanks to all who replied, i have fun reading it.
i did some transcribing this morning before i go to the office (and i came late). and i got it some how right, Dm7, Ebm7, in dorian mode.
im having a last song syndrome of this song, so intense i hear it i couldnt sleep well, like forcing me to grab my guitar and play than have a good night sleep.
thanks.
Chai

**Nick0783** · 02-22-2011, 11:12 PM

Originally Posted by Drumbler

I have only one thing to say about this topic:

"So what? I'm mean really...so what?"

That's an interesting thought, perhaps the lack of detailed analysis on this thread is down to the fact that everyone has been subconsciously lulled into bored nonchalance by the title. Not that I care.

I would mention that I like the bass riff but I can't be bothered...

**JonnyPac** · 02-24-2011, 04:31 PM

**blackwingchai** · 02-24-2011, 10:14 PM

^ this nice, very helpful video, thanks Jonny

**JonnyPac** · 02-24-2011, 10:24 PM

That guy goes nuts on the piano. That's like a lifetimes worth of info.

I play it pretty safe in comparison... sigh

**m7b5** · 02-26-2011, 01:29 AM

Hello I'm new here and have just been learning jazz the past few months. I found a good you tube video a while back that led me to these chords. Play various combinations of them once you get past the head. You'll see they work well!

Bm11 X2223X, Cmaj7add4 x3345x, Dm11 x5556x, Em11 x7778x,

Fmaj7b5 x899(10)x, G? x(10)(10)(10)(12)x, Am11 x(12)(12)(12)(13)x. You'll have to move them all up a half step when the song moves up . . .