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| [[File:So What chord.png|thumb|So What chord {{audio|So What chord.mid|Play}}]]
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| In [[jazz]] and [[jazz harmony]], a '''So What chord''' is a particular 5-note [[chord (music)|chord]] [[voicing (music)|voicing]]. From the bottom note upwards, it consists of three [[perfect fourth]] intervals followed by a [[major third]] interval. It was employed by [[Bill Evans]] in the "'amen' [[call and response (music)|response]] [[figure (music)|figure]]"<ref>John Robert Brown (2004). ''Mel Bay's Concise History of Jazz'', p.146. ISBN 0-7866-4983-6.</ref> to the [[head (music)|head]] of the [[Miles Davis]] tune "[[So What (composition)|So What]]".
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| For example, an "E minor" So What chord (see illustration) is an E[[Minor seventh chord|m7]][[Suspended chord|sus4]] voicing,<ref name="Rawlins">Rawlins, Robert and Eddine Bahha, Nor (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', p.81. ISBN 0-634-08678-2.</ref> or as a [[polychord]]:
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| <div style="text-align:center"><math>\frac {G/D}{A5/E}</math></div>
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| The So What chord is often used as an alternative to [[Quartal and quintal harmony|quartal voicings]] and may be used in diatonic and chromatic [[harmonic planing|planing]],<ref name="Rawlins"/> and is identical to the [[List of guitar tunings#Standard tuning|standard tuning]] of a [[guitar]]'s five lowest strings. It is essentially a minor [[eleventh chord]] (-11, m11), arranged as it would be played on a guitar (root, 4th, {{music|flat}}7th, {{music|flat}}3rd, 5th).
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| It may also be thought of as a five-note [[quartal and quintal harmony|quartal]] chord (built from fourths) with the top note lowered by a [[semitone]]. More modern sounding than "[[tertial]] chords" (built from thirds), it is useful in [[comping]]; since the structure of quartal harmony is usually vague, many roots may be applied to the So What chord and it may work well in various contexts including, "a [[major scale]] context; a [[Mixolydian mode]] context; or a [[minor scale|minor]] context".<ref>Martan Mann (1997). ''Improvising Blues Piano'', p.81. ISBN 0-8256-1624-7.</ref> For example, the E chord described above can also be C6<small>Δ</small>9, Asus4<sup>7<sup>9</sup></sup>, G6<sup>9</sup>, Dsus2<sup>4<sup>6 [no 7]</sup></sup>, F<sup>lydian</sup> (F<small>Δ</small>9{{music|#}}11<sup>13 [no 5]</sup>) or F{{music|sharp}}<sup>phrygian</sup> (F{{music|sharp}}m7{{music|flat}}9<sup>11{{music|flat}}13 [no 5]</sup>).
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| Other jazz recordings that make extensive use of the chord include [[McCoy Tyner]]'s "[[Peresina]]" and [[Gary Burton]]'s "Gentle Wind and Falling Tear." Tyner's use of similar voicings was an early influence on [[Chick Corea]]; it can be heard in tunes such as "Steps" and "Matrix" (both featured on his landmark album "[[Now He Sings, Now He Sobs]]").
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| The term "So What chord" is used extensively in [[Mark Levine (musician)|Mark Levine]]'s landmark work ''[[The Jazz Piano Book]]'', wherein he describes a range of uses for which the voicing might be employed. [[Frank Mantooth]] dedicated two chapters to the chord under the name "Miracle voicing" in his work ''Voicings for Jazz Keyboard''.
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| == Sources ==
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| {{reflist}}
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| == Bibliography ==
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| *Levine, Mark "The Jazz Piano Book" 1989 Sher Music Co., Petaluma, CA ISBN 0-9614701-5-1.
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| *Mantooth, Frank "Voicings for Jazz Keyboard" 1986 Hal Leonard Publishing Corp., Milwaukee, WI ISBN 0-7935-3485-2.
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| {{Chords}}
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| {{Jazz theory}}
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| [[Category:Jazz techniques]]
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| [[Category:Chords]]
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