Analysis of “Misty” by Errol Garner
Original Key: Eb major
Form: A1 – A2 – B – A2
Tonality : Primarily major
Taken from “The Real Book” rendition
A very popular ballad that has crossed over genres of music for the past 50 years (1959). The melody soars over a range of nearly two octaves with many pitches falling on color tones or chord extensions (mainly the major seventh, the ninth and the eleventh). Use of both eighth-note and quarternote triplet figures create internal contrast with the “straight eighths,” adding rhythmic interest (important in a slowmoving ballad). The chord progression of section “A” is actually quite similar to that of “Cherokee” (I – v7 – I7 – IV – iv – I– vi – ii7 – V7) until measure 6 (while the ii7 –
V7 in measure six would work in the latter tune, its ii
– iii7(b5) turnaround would clash badly with the melodic pitches of the present tune). The first ending uses a lovely delaying, circle-of-fifths cadence starting on III7 (G7(b5) in the original key) before returning to the to nic for the second “A.”
Section “B” begins with a fairly orthodox harmonic progression– v – I7 – iv, in which the I7 functions as a V7of the new subdominant key (in the original key, Eb modulating to Ab). But then the IV chord (Ab) is followed by a minor 7th chord a half step higher. Aural experience tells our ears to expect this Am7, which is followed by a D7, to be a ii7
– V7 sequence to G major or G minor. Instead, Garner surprises us once again by a deceptive resolution to Cm, the vi of the original to nic of Eb. From there, it’s an easy modulation back to the tonic (but what a fascinating detour!)
Section A
Pick up bar: Bb13 = V of home key (Eb major) in Bar 1
Bar 1: [First A]
Ebmaj7 (Tonic Eb)
Bar 2:
Bbm7 - Eb13(b9) [2 optional views]
1) ii - V7 of target Bar 3 chord (new key is Ab major, the IV of Eb) = Abmaj7
2) Bbm7 - Eb13(b9) = v7 – I7
Bar 4:
Abm9 - Db13 as ii - V7 of new Key Gb major (I)...(but the resolution doesn't go to Gb as it theoretically should ... see Bar 5 where it resolves...)
Bar 5:
Ebmaj7 (can be Gm7, vi of Eb) - Cmi7 (vi of Key Eb)*
Bar 6:
Fm7 (ii of Eb major) - Bb7 (V of Eb major)
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Bar 7: [first ending] delaying, circle-of-fifths cadence starting on III7 (G7(b5) in the original key to
VI7 to II7b5 to V7 before returning to th e tonic for the second “A.”
NOTE: this chord should be G7b5 to C7 (Real Book has it as Gm7 – C7)
G7 (III7 of Eb or V of key of C Harm. minor) - C7 (V of key of F or back-cycled from G7 ) ... or as V of F Harm. Minor.
NOTE: Bar 7 can be treated in a number of ways ... I like to treat G7 as IV of D Harm. Minor because it retains the #11 of G7 (C#) ... C# placed in the bass over G7 creates a smooth descending bass line to C7 then to F7 with the #11 (B) in the bass to Bb13.
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A very interesting, and very cool resolution is happening in Bars 4 & 5 : Abm7 - Db9 going to EbMaj7 in Bar 5 (but Ebmaj7 is treated as Gm7 - which is the iii chord of Eb major: Gm7 to Cm7 ...
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The resolution of the ii - V (Abm7 - Db9) wants to resolve to I, Gb(Maj7) ... instead Garner resolves it to Gm7 ... (too cool), he is using the 3rd and -7th degree of Gm7 (Bb and F) ... which is the 3rd. and maj 7th of Gb maj7 - kind of like a tri-tone sub. resolution ... purely genius.
Bar 8:
F9 (V of key of C, or IV of C minor) - Bb7 (V of Eb) ... this measure can be treated as a secondary ii-V dominant of Eb ... instead of Fm7-Bb7 ... treat the 4Fm7 as F7 to Bb7 ... as a II-V...
Bar 9:
Ebmaj7 – Eb tonic key - A section resolved -- start of next A section ... (Bar 9 acts as bar 1 of 2nd
A section ...)
Bars 10 – 14 [2 nd A]: same as bars 1 – 6
Bar 15 - 16:
Eb6 : I Tonic. Establishes home key resolution for complete melodic development of A section.
Bar 16 acts as a delayed extension of the resolution, linking a melodic passage to the B section.
It’s called an “Interlude”.
B Section (Bridge) – Ab Major New Tonality [ Eb modulating to Ab]
Bar 17 & 18:
Bbm7 … | Bbm7 – Eb7b9 :
1) ii – V7 – Bar 17 acts as a delayed ii of the V7 turnaround in bar 18 to the sub-dominant key of Ab Major in bar 18.
Bar 19:
AbMaj7 – I of Ab major
Bar 20:
Same as bar 19.
Bar 21:
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Am7 : bii of Ab … the ii – V7 of Ab is Bbm7 – Eb7 a half step higher than Am7 (the V7 is implied and delayed to next measure … D7). Aural experience tells our ears to expect this Am7, which is followed by a D7 in next mneasure, as a ii7
– V7 sequence to G major tonality or G minor tonality.
Instead, Garner surprises us once again by a deceptive resolution to Cm in Bar 22 (Cm7
– F7 but instead he plays D7 to F7).
Note: The ear wants to hear a “G” resolution after Bar 22 (regardless of chord name or family) – but he takes us to D7 – F7. Note that he must get back to the key of Eb major.
How does Garner pull this off?
Bar 22 & 23 are the pivotal bars to get back “home” in Eb. The vi of the original tonic of Eb in bar
22 is Cm. The G tonality our ear wanted to hear is delayed to bar 23, having gone through Cm where it is resolved already (Pure Genius Again!) From there, it’s an easy modulation back to the tonic (but what a fascinating detour!)
Bar 2
2: (2 optional views … I prefer #1)
Am7 - F7:
1). ii7 – (implied II7 … D7 which is delayed to next bar) of the original tonic of G.
2). ii7
– V7 of Bb major – but this would create a unwarranted new key of Bb major.
Bar 23:
(2 optional views – I prefer to follow #1 for improvisation sake)
1). Gm7b5 - C7b9: iib5
– V7 (altered) of F Harmonic Minor
2). Gm7b5 - C7b9: iiib5 – VI7 (altered) of original tonic key of Eb
Both views utilize “secondary dominance” in the V altered chord – therefore, F Harm. Min. will cover the alterations.
Bar 24:
Fm7 Bb7: ii
– V7 of original tonic key. This establishes and resolves a full melo/harmonic course from A1 to A2 to B to A2 in bars 25 to 32.
Bar 25 to 30:
Same as Bars 1 to 6 above.
Bars 31 (and bar 32 if no turn around for solos):
Eb6: tonic Eb key – Finale of Song
Bar 32 (taken as follows if used as turn around for solos):
Fm7
– Bb7: ii – V7 of tonic Eb as a turn around into the form for solos.
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