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
quarter-note triplet figures create internal contrast with the straight eighths, adding rhythmic
interest (important in a slow-moving 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 tonic 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 tonic
of Eb. From there, its 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 the 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.

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 ...
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 [2nd 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.
Its 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:
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
2
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, its an easy modulation back to the
tonic (but what a fascinating detour!)

Bar 22: (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.