Start by getting clear on what a minor chord actually is, because this is where most of the confusion begins. In a tune like So What, you’re essentially dealing with a minor chord as a tonic sound.

Many beginners that learn So What or Impressions, ingrain an incomplete view of minor chords because of their early exposure to modal settings. It's important to work through how minor chords function as ii, iii, and vi chords, and then focus on what happens when the chord becomes “home.” This is when you truly start to understand how context affects minor chords.

Next, build a real foundation in what modal jazz is and how modes relate to chords. In this step, you'll go through how modes are constructed, why each one sounds different, and how they express the chord from the inside out.

Pay close attention to the breakdown of the Miles Davis solo on So What, this is where you start to see how these ideas actually show up in real playing.

In this step, you'll set your focus on how to solo over a static sound. With only one chord for long stretches, there’s nothing pushing your lines forward, so you have to create that movement yourself.

You'll study how Miles and Coltrane develop ideas, shape phrases, and build momentum without relying on chord changes. This is where you start to create a real playing concept for a modal tune like So What or Impressions.