Before you can really play Mr. P.C., you need to understand how minor harmony actually works. A minor blues isn’t just a major blues with a different scale—the function of chords, the role of the V7, and the treatment of tonic minor all shape how the form sounds. By understanding where the chords come from and how minor harmony is built, the progression becomes much clearer and easier to hear.

With the harmonic foundation in place, the next step is studying how Coltrane plays over the form. His approach to Mr. P.C. shows how to hear the three 4-bar sections, navigate key transitions, and create forward motion over long stretches of minor harmony, giving you a direct model for how to actually play the tune.

To sound strong on Mr. P.C., you need real language over minor chords, not just minor scales or generic licks. By studying players like Clifford Brown, you begin to build melodic vocabulary—phrases, shapes, and ideas—that create motion and keep your lines connected over extended minor sections.

The final step is developing bebop devices you can rely on in real time. Studying how players like Sonny Stitt build their language from simple exercises helps you move beyond reacting to chords and toward a more complete approach to minor harmony rooted in structure, vocabulary, and musical intent.