Chords for So What - Piano Jazz Lesson by Antoine Herve (EN dubbing)
Tempo:
57.75 bpm
Chords used:
D
Dm
F
Em
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] [D] [Dm] [C] [A] [D] [Dm]
[C] [D] [E] [A] [D] [Dm]
[N] Today, we'll be checking out modal jazz.
We'll be looking at a Miles Davis theme called So What, recorded in 1958 in close collaboration
with Bill Evans.
The interest in this tune lies in the extremely simple system it uses, but which will also
require your imagination in order to make good music.
[D] The principle is quite simple.
You take D and go up using all the white [B] notes.
[D]
The result is [N] the minor mode, also known as Dorian, and we'll be playing using only these notes.
It's perfect for pianists.
For the moment, all you're using is white keys.
First there's the left hand phrase, which allows you to get your left hand working and
to use it as a double basses.
[D] It goes like [C] this.
[D] Then there's a response, [Em] like an assembly choir.
[Dm]
You [D] can put lyrics [F] on it.
So [N] what.
And then, there's these two chords, which were basically invented back then by Bill Evans.
They're pretty interesting, because as you can see, they're chords made of [E] fourths with
a third on top.
Starts on [A] E, then up to a fourth to [D] A, then up a fourth [G] to D, then up [Em] a fourth to G, [Dm] and
then finally a major third.
I'll transpose these chords diatonically, so in this case on the white keys.
The [A] interest of the tune [G] is that it's played almost entirely on the white keys of the piano
in the mode called D minor Dorian.
When I take this [G] chord, EADGB, and transpose it a step down with the same increments, I get [F] DGCFA.
And that's the response by [D] the choir, like [C] so.
[D] [Dm] [C] [A] [D] [Dm]
[C] [D] [E] [A] [D] [Dm]
So that's what we'll call our A section.
Then you repeat it a second [Eb] time, and the third time, meaning the B section, you go
up half a step, which will make you work on your transposition chops.
We're now in E flat minor, but we're still playing the same thing.
[Eb]
[Bb] [Eb] [Bb] [Ebm] And [Em] then you restate the last A.
Here's a little trick to make the chords sound good on piano.
With this chord here, [Bm] with the second finger free, I'm going to play an F sharp as a ghost
note, to give it some life, [G] and make it sound like the phrasing of a human voice.
To give [A]
some life to the chord, and [D] make it sound like the phrasing [Em] of a human voice.
[Dm] [D] [F] [Em]
[D] So I'm [Bm] actually hitting the chord with [G] EADF sharp B, and [Dm] I resolve it straight away with a G.
Then I do [Fm] the same for E [Ebm] flat.
[Em] Bill Evans pretty much invented this [F] chord position, and every jazz pianist has used
it extensively since.
So many people asked him, since you invented the chord, did you use it a lot afterwards?
And he said, no, I don't want any systems for improvisation.
I don't want it to be recurring, and it's not very lyrical.
[Em] But you can still create melodies with this position, just on the white [F] keys, if you bring it up.
[F] [Em] [D] While putting a [Dm] fifth with the left hand.
[B] Notice that the top note of the chord is the one that [D]
[Bm] [F] goes
It's the melody.
So I'll harmonize this chord in parallel motion, diatonically, meaning without any alteration.
And so I can invent melodies with this position.
[Em] [F] [Am]
[Dm] [A]
In fact, [D] the inspiration for this type of modal chord partly came from Stravinsky's
Rite of Spring.
The spring round, you know.
[F] [G] [Dm] [D] [Em] [F]
[Dm] [Am] Except that here, [E] Stravinsky would use one fourth, [F] a second, and a third.
[D] Evolving in the same fashion, [Am] I [F] can use that chord in my left hand, [Em] and play another melody
with [F] my right.
[D] [Em] I can also use [F] just [B] fourths.
[D] Simple [C] fourths, with the left hand.
[Dm] [F] DGC, EAD, [D] FBE, [Am] GCF, ADG, [D] BEA.
And here's [E] my low fifth.
The [Am] fourths.
This one I prefer [Dm] to start out with.
[B]
Here I cheated.
I use a triad with four [F] notes.
[Am]
[F] [A] Etc.
Now it's your turn to improvise modally in D minor over So What by Miles Davis, using
Bill Evans' chord.
It's really easy to pick it up.
You can improvise however you can possibly want.
But for now, [Am] only use the white [D] keys.
[Dm] [C] [A] [Bm] [Dm] [C] [D] [E] [A] [D] [N]
[C] [D] [E] [A] [D] [Dm]
[N] Today, we'll be checking out modal jazz.
We'll be looking at a Miles Davis theme called So What, recorded in 1958 in close collaboration
with Bill Evans.
The interest in this tune lies in the extremely simple system it uses, but which will also
require your imagination in order to make good music.
[D] The principle is quite simple.
You take D and go up using all the white [B] notes.
[D]
The result is [N] the minor mode, also known as Dorian, and we'll be playing using only these notes.
It's perfect for pianists.
For the moment, all you're using is white keys.
First there's the left hand phrase, which allows you to get your left hand working and
to use it as a double basses.
[D] It goes like [C] this.
[D] Then there's a response, [Em] like an assembly choir.
[Dm]
You [D] can put lyrics [F] on it.
So [N] what.
And then, there's these two chords, which were basically invented back then by Bill Evans.
They're pretty interesting, because as you can see, they're chords made of [E] fourths with
a third on top.
Starts on [A] E, then up to a fourth to [D] A, then up a fourth [G] to D, then up [Em] a fourth to G, [Dm] and
then finally a major third.
I'll transpose these chords diatonically, so in this case on the white keys.
The [A] interest of the tune [G] is that it's played almost entirely on the white keys of the piano
in the mode called D minor Dorian.
When I take this [G] chord, EADGB, and transpose it a step down with the same increments, I get [F] DGCFA.
And that's the response by [D] the choir, like [C] so.
[D] [Dm] [C] [A] [D] [Dm]
[C] [D] [E] [A] [D] [Dm]
So that's what we'll call our A section.
Then you repeat it a second [Eb] time, and the third time, meaning the B section, you go
up half a step, which will make you work on your transposition chops.
We're now in E flat minor, but we're still playing the same thing.
[Eb]
[Bb] [Eb] [Bb] [Ebm] And [Em] then you restate the last A.
Here's a little trick to make the chords sound good on piano.
With this chord here, [Bm] with the second finger free, I'm going to play an F sharp as a ghost
note, to give it some life, [G] and make it sound like the phrasing of a human voice.
To give [A]
some life to the chord, and [D] make it sound like the phrasing [Em] of a human voice.
[Dm] [D] [F] [Em]
[D] So I'm [Bm] actually hitting the chord with [G] EADF sharp B, and [Dm] I resolve it straight away with a G.
Then I do [Fm] the same for E [Ebm] flat.
[Em] Bill Evans pretty much invented this [F] chord position, and every jazz pianist has used
it extensively since.
So many people asked him, since you invented the chord, did you use it a lot afterwards?
And he said, no, I don't want any systems for improvisation.
I don't want it to be recurring, and it's not very lyrical.
[Em] But you can still create melodies with this position, just on the white [F] keys, if you bring it up.
[F] [Em] [D] While putting a [Dm] fifth with the left hand.
[B] Notice that the top note of the chord is the one that [D]
[Bm] [F] goes
It's the melody.
So I'll harmonize this chord in parallel motion, diatonically, meaning without any alteration.
And so I can invent melodies with this position.
[Em] [F] [Am]
[Dm] [A]
In fact, [D] the inspiration for this type of modal chord partly came from Stravinsky's
Rite of Spring.
The spring round, you know.
[F] [G] [Dm] [D] [Em] [F]
[Dm] [Am] Except that here, [E] Stravinsky would use one fourth, [F] a second, and a third.
[D] Evolving in the same fashion, [Am] I [F] can use that chord in my left hand, [Em] and play another melody
with [F] my right.
[D] [Em] I can also use [F] just [B] fourths.
[D] Simple [C] fourths, with the left hand.
[Dm] [F] DGC, EAD, [D] FBE, [Am] GCF, ADG, [D] BEA.
And here's [E] my low fifth.
The [Am] fourths.
This one I prefer [Dm] to start out with.
[B]
Here I cheated.
I use a triad with four [F] notes.
[Am]
[F] [A] Etc.
Now it's your turn to improvise modally in D minor over So What by Miles Davis, using
Bill Evans' chord.
It's really easy to pick it up.
You can improvise however you can possibly want.
But for now, [Am] only use the white [D] keys.
[Dm] [C] [A] [Bm] [Dm] [C] [D] [E] [A] [D] [N]
Key:
D
Dm
F
Em
A
D
Dm
F
[Am] _ [D] _ _ [Dm] _ [C] _ [A] _ [D] _ [Dm] _
[C] _ [D] _ _ [E] _ _ [A] _ [D] _ [Dm] _
_ [N] Today, we'll be checking out modal jazz.
We'll be looking at a Miles Davis theme called So What, recorded in 1958 in close collaboration
with Bill Evans.
The interest in this tune lies in the extremely simple system it uses, but which will also
require your imagination in order to make good music. _ _
[D] The principle is quite simple.
You take D and go up using all the white [B] notes.
[D] _
The result is [N] the minor mode, also known as Dorian, and we'll be playing using only these notes.
It's perfect for pianists.
For the moment, all you're using is white keys.
First there's the left hand phrase, which allows you to get your left hand working and
to use it as a double basses.
[D] It goes like [C] this.
[D] Then there's a response, [Em] like an assembly choir.
[Dm]
You [D] can put lyrics [F] on it.
So [N] what.
And then, there's these two chords, which were basically invented back then by Bill Evans.
They're pretty interesting, because as you can see, they're chords made of [E] fourths with
a third on top.
Starts on [A] E, then up to a fourth to [D] A, then up a fourth [G] to D, then up [Em] a fourth to G, [Dm] and
then finally a major third.
I'll transpose these chords diatonically, so in this case on the white keys.
The [A] interest of the tune [G] is that it's played almost entirely on the white keys of the piano
in the mode called D minor Dorian.
When I take this [G] chord, EADGB, and transpose it a step down with the same increments, I get [F] DGCFA.
And that's the response by [D] the choir, like [C] so.
[D] _ _ [Dm] _ [C] _ [A] _ [D] _ [Dm] _
[C] _ [D] _ _ [E] _ _ [A] _ [D] _ [Dm]
So that's what we'll call our A section.
Then you repeat it a second [Eb] time, and the third time, meaning the B section, you go
up half a step, which will make you work on your transposition chops.
We're now in E flat minor, but we're still playing the same thing.
[Eb] _
[Bb] _ [Eb] _ _ [Bb] _ _ [Ebm] And [Em] then you restate the last A.
Here's a little trick to make the chords sound good on piano.
With this chord here, [Bm] with the second finger free, I'm going to play an F sharp as a ghost
note, to give it some life, [G] and make it sound like the phrasing of a human voice.
To give [A]
some life to the chord, and [D] make it sound like the phrasing [Em] of a human voice.
[Dm] _ [D] _ [F] _ [Em]
[D] So I'm [Bm] actually hitting the chord with [G] EADF sharp B, and [Dm] I resolve it straight away with a G.
Then I do [Fm] the same for E [Ebm] flat.
_ [Em] Bill Evans pretty much invented this [F] chord position, and every jazz pianist has used
it extensively since.
So many people asked him, since you invented the chord, did you use it a lot afterwards?
And he said, no, I don't want any systems for improvisation.
I don't want it to be recurring, and it's not very lyrical.
[Em] But you can still create melodies with this position, just on the white [F] keys, if you bring it up.
_ _ [F] _ [Em] _ _ [D] While putting a [Dm] fifth with the left hand.
[B] _ Notice that the top note of the chord is the one that [D] _
[Bm] _ [F] goes_
It's the melody.
So I'll harmonize this chord in parallel motion, diatonically, meaning without any alteration.
And so I can invent melodies with this position.
[Em] _ [F] _ [Am] _ _
_ [Dm] _ _ _ _ _ _ [A]
In fact, [D] the inspiration for this type of modal chord partly came from Stravinsky's
Rite of Spring.
The spring round, you know.
_ [F] _ [G] _ [Dm] _ [D] _ [Em] _ [F] _
[Dm] _ [Am] Except that here, [E] Stravinsky would use one fourth, [F] a second, and a third. _
[D] Evolving in the same fashion, [Am] I [F] can use that chord in my left hand, [Em] and play another melody
with [F] my right.
_ [D] _ _ [Em] I can also use [F] just [B] fourths.
[D] Simple [C] fourths, with the left hand.
[Dm] [F] DGC, EAD, [D] FBE, [Am] GCF, ADG, [D] BEA.
And here's [E] my low fifth.
The [Am] fourths.
This one I prefer [Dm] to start out with.
_ [B] _ _ _
Here I cheated.
I use a triad with four [F] notes.
_ _ [Am] _ _
[F] [A] Etc.
Now it's your turn to improvise modally in D minor over So What by Miles Davis, using
Bill Evans' chord.
It's really easy to pick it up.
You can improvise however you can possibly want.
But for now, [Am] only use the white [D] keys.
_ [Dm] _ [C] _ [A] _ [Bm] _ [Dm] _ [C] _ [D] _ _ [E] _ _ [A] _ [D] _ [N] _
[C] _ [D] _ _ [E] _ _ [A] _ [D] _ [Dm] _
_ [N] Today, we'll be checking out modal jazz.
We'll be looking at a Miles Davis theme called So What, recorded in 1958 in close collaboration
with Bill Evans.
The interest in this tune lies in the extremely simple system it uses, but which will also
require your imagination in order to make good music. _ _
[D] The principle is quite simple.
You take D and go up using all the white [B] notes.
[D] _
The result is [N] the minor mode, also known as Dorian, and we'll be playing using only these notes.
It's perfect for pianists.
For the moment, all you're using is white keys.
First there's the left hand phrase, which allows you to get your left hand working and
to use it as a double basses.
[D] It goes like [C] this.
[D] Then there's a response, [Em] like an assembly choir.
[Dm]
You [D] can put lyrics [F] on it.
So [N] what.
And then, there's these two chords, which were basically invented back then by Bill Evans.
They're pretty interesting, because as you can see, they're chords made of [E] fourths with
a third on top.
Starts on [A] E, then up to a fourth to [D] A, then up a fourth [G] to D, then up [Em] a fourth to G, [Dm] and
then finally a major third.
I'll transpose these chords diatonically, so in this case on the white keys.
The [A] interest of the tune [G] is that it's played almost entirely on the white keys of the piano
in the mode called D minor Dorian.
When I take this [G] chord, EADGB, and transpose it a step down with the same increments, I get [F] DGCFA.
And that's the response by [D] the choir, like [C] so.
[D] _ _ [Dm] _ [C] _ [A] _ [D] _ [Dm] _
[C] _ [D] _ _ [E] _ _ [A] _ [D] _ [Dm]
So that's what we'll call our A section.
Then you repeat it a second [Eb] time, and the third time, meaning the B section, you go
up half a step, which will make you work on your transposition chops.
We're now in E flat minor, but we're still playing the same thing.
[Eb] _
[Bb] _ [Eb] _ _ [Bb] _ _ [Ebm] And [Em] then you restate the last A.
Here's a little trick to make the chords sound good on piano.
With this chord here, [Bm] with the second finger free, I'm going to play an F sharp as a ghost
note, to give it some life, [G] and make it sound like the phrasing of a human voice.
To give [A]
some life to the chord, and [D] make it sound like the phrasing [Em] of a human voice.
[Dm] _ [D] _ [F] _ [Em]
[D] So I'm [Bm] actually hitting the chord with [G] EADF sharp B, and [Dm] I resolve it straight away with a G.
Then I do [Fm] the same for E [Ebm] flat.
_ [Em] Bill Evans pretty much invented this [F] chord position, and every jazz pianist has used
it extensively since.
So many people asked him, since you invented the chord, did you use it a lot afterwards?
And he said, no, I don't want any systems for improvisation.
I don't want it to be recurring, and it's not very lyrical.
[Em] But you can still create melodies with this position, just on the white [F] keys, if you bring it up.
_ _ [F] _ [Em] _ _ [D] While putting a [Dm] fifth with the left hand.
[B] _ Notice that the top note of the chord is the one that [D] _
[Bm] _ [F] goes_
It's the melody.
So I'll harmonize this chord in parallel motion, diatonically, meaning without any alteration.
And so I can invent melodies with this position.
[Em] _ [F] _ [Am] _ _
_ [Dm] _ _ _ _ _ _ [A]
In fact, [D] the inspiration for this type of modal chord partly came from Stravinsky's
Rite of Spring.
The spring round, you know.
_ [F] _ [G] _ [Dm] _ [D] _ [Em] _ [F] _
[Dm] _ [Am] Except that here, [E] Stravinsky would use one fourth, [F] a second, and a third. _
[D] Evolving in the same fashion, [Am] I [F] can use that chord in my left hand, [Em] and play another melody
with [F] my right.
_ [D] _ _ [Em] I can also use [F] just [B] fourths.
[D] Simple [C] fourths, with the left hand.
[Dm] [F] DGC, EAD, [D] FBE, [Am] GCF, ADG, [D] BEA.
And here's [E] my low fifth.
The [Am] fourths.
This one I prefer [Dm] to start out with.
_ [B] _ _ _
Here I cheated.
I use a triad with four [F] notes.
_ _ [Am] _ _
[F] [A] Etc.
Now it's your turn to improvise modally in D minor over So What by Miles Davis, using
Bill Evans' chord.
It's really easy to pick it up.
You can improvise however you can possibly want.
But for now, [Am] only use the white [D] keys.
_ [Dm] _ [C] _ [A] _ [Bm] _ [Dm] _ [C] _ [D] _ _ [E] _ _ [A] _ [D] _ [N] _