Exploring Modal Jazz: The Genius of "So What"

Summary:

This article delves into the world of modal jazz, using Miles Davis's seminal composition "So What" as a primary case study. We will explore how this innovative approach broke away from the dense, fast-moving chord changes of bebop, opening up a new universe of improvisational freedom based on scales and modes. Understanding the philosophy and mechanics of modal jazz is essential for any modern musician looking to expand their harmonic and melodic vocabulary.

Keywords:

Modal Jazz, Miles Davis, So What, Kind of Blue, Dorian Mode, Improvisation, Jazz Harmony, Bill Evans, John Coltrane, George Russell, Jazz Theory, Quartal Harmony, Jazz Education

Introduction:

Imagine the sound of jazz in the late 1950s. It was largely dominated by the blistering, complex, and harmonically dense language of bebop, where soloists navigated a dizzying maze of chord changes. Then, in 1959, a cool breeze swept through the scene. That breeze was modal jazz, and its definitive anthem was "So What" from Miles Davis's legendary album, *Kind of Blue*. This new sound was spacious, contemplative, and radically different. It fundamentally shifted the improviser's focus from "vertical" thinking (navigating chords that change every few beats) to "horizontal" thinking (exploring the melodic potential of a single scale over a longer duration), giving them unprecedented freedom to create.

Definition and Classification:

Modal jazz is a style where improvisation is based on a particular scale, or "mode," for a prolonged period, rather than on a series of resolving chord progressions. Instead of the constant harmonic motion of bebop, modal music features a static or slow-moving harmonic foundation. This allows the soloist to create melodic interest without being dictated by rapid chord changes. A musician might have 8, 16, or even 32 bars to explore the melodic and emotional nuances of a single mode. The most common mode in this style is the Dorian mode (a minor scale with a raised 6th degree, e.g., D-E-F-G-A-B-C), which sounds pensive yet hopeful. The structure of a modal tune like "So What" is a simple 32-bar AABA form, but the sections are defined by modal centers (D Dorian for the A sections, Eb Dorian for the B section) instead of a functional chord progression.

Examples:

Practical Applications:

For improvisers, modal jazz is both a challenge and a liberation. Without the guideposts of frequent chord changes, the musician must create interest through other means. Here are some techniques:

• Motif Development: Create a short melodic idea and then repeat, vary, and develop it throughout the section.
• Rhythmic Phrasing: Use rhythm as a primary tool. Create tension and release with complex rhythms against the steady pulse, and use space and silence dramatically.
• Exploring the Mode: Don't just run scales. Focus on specific intervals within the mode. For example, highlight the characteristic major 6th of the Dorian mode (the B natural in D Dorian).
• Using Pentatonics: A simple way to create melodic, "inside" lines is to use pentatonic scales. Over D Dorian, you can use the A minor pentatonic (A-C-D-E-G) or E minor pentatonic (E-G-A-B-D) to great effect.

This modal concept has transcended jazz, influencing funk (Herbie Hancock's "Chameleon"), rock (The Allman Brothers Band's "In Memory of Elizabeth Reed"), and film music, where composers use modal harmony to create expansive, atmospheric soundscapes.

Historical Figures:

While many contributed to this movement, a few figures are central. At the forefront was trumpeter and bandleader Miles Davis, the visionary behind *Kind of Blue*. Davis constantly sought new directions, and modal jazz was his elegant answer to what he felt was the growing harmonic clutter of bebop. Crucial to this development was pianist Bill Evans, whose sophisticated, introspective quartal voicings defined the sound of the album. Saxophonist John Coltrane, another member of the sextet, took modal improvisation to its spiritual and technical limits in his later work like "Impressions" and "A Love Supreme". Alto saxophonist Cannonball Adderley provided a vital, blues-inflected counterbalance with his joyfully melodic solos. We must also credit theorist George Russell, whose book "Lydian Chromatic Concept of Tonal Organization" provided the intellectual framework that inspired Davis and others to explore improvisation based on scale-chord unity.

Fun Facts:

The title "So What" is rumored to have originated from one of Miles Davis's favorite dismissive retorts. The *Kind of Blue* album, considered by many to be the greatest jazz album of all time, was recorded with minimal rehearsal in just two sessions. The musicians were often given only sketches of scales and melodic ideas in the studio, forcing a level of spontaneous and deeply focused creation that is palpable in the recording. The iconic bass and piano introduction to "So What" was sketched by arranger Gil Evans, a longtime collaborator of Davis's, and then brilliantly interpreted and voiced by Bill Evans and bassist Paul Chambers in the studio.

Conclusions:

"So What" is more than just a famous jazz standard; it's a gateway to a new musical philosophy. It represents a pivotal moment when jazz shifted its focus from harmonic complexity to melodic freedom, space, and patience. The principles of modal jazz empowered a generation of musicians to explore new expressive territories and remain a vital tool for composers and improvisers today. Its legacy is a testament to the idea that creativity can flourish when constraints are removed. As you listen to the solos on "So what," can you hear the individual story each musician tells on this wide-open canvas?

References:

1. Levine, M. (1995). The Jazz Theory Book. Sher Music Co.

2. Kahn, A. (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. Da Capo Press.

3. Russell, G. (2001). George Russell's Lydian Chromatic Concept of Tonal Organization, Volume One: The Art and Science of Tonal Gravity. Concept Publishing Company.