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Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 2Introduction: In this lesson, we will be discussing the harmony of the jazz standard “Misty” and applying some new techniques to “There Will Never Be Another You”. This post is a follow-up to a previous video by mDecks Music, so make sure to watch Part One first if you haven’t already.

Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 1

We will cover the 2-5-1 progression and its extension, the 1-6-2-5, and how they are used in “Misty”. We will also explore a variation of the 3-6-2-5 progression in “Misty” using secondary dominance that tonicizes the ii.

Here’s a summary of the lesson:

Section 1: The 2-5-1 Progression in “Misty”

Definition of the 2-5-1 progression

How it is used in “Misty”

Examples of the 2-5-1 in “Misty”

Explanation of the bracket and arrow notation used to find ii-V-Is

Section 2: The 1-6-2-5 Progression in “Misty”

Definition of the 1-6-2-5 progression

How it is an extension of the 2-5-1

Examples of the 1-6-2-5 in “Misty”

Explanation of the chord progression in the key of C and Eb major

Section 3: Variation of the 3-6-2-5 Progression in “Misty”

Definition of the 3-6-2-5 progression

Explanation of the variation in “Misty” using secondary dominance

Analysis of the Gm7 chord in measures 7 and 8

Explanation of the ii/ii – V/ii – ii – V progression

Section 4: The Back-door Progression applied to “There Will Never Be Another You”

Conclusion: In conclusion, the harmony of “Misty” demonstrates the importance of the 2-5-1 and 1-6-2-5 progressions in jazz music. The variation of the 3-6-2-5 in “Misty” using secondary dominance shows the versatility and creativity of jazz musicians. By applying these techniques to “There Will Never Be Another You”, we can see how they can be used in different contexts and expand our understanding of jazz harmony.

For more jazz tutorials like this one check our mDecks Music YouTube Channel and visit mDecks.com

Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 1If you’re a songwriter or a musician, you may have come across the term “harmony” before. But do you know what it means? Harmony is the simultaneous sounding of two or more notes, creating chords that give a sense of structure and tonality to a piece of music. In jazz, harmony is the best tool that we have for songwriting, yet it’s often neglected by many songwriters and musicians. In this blog post, we’ll explore jazz harmony and how you can use it to play, improvise, arrange or even write music.

To start, let’s take a look at the harmony in the jazz standard “Misty”. The song is in the key of Eb major, and the first chord is an Imaj7 (Ebmaj7). The next chord is a IVmaj7 (Abmaj7), which is a target chord approached by way of its 2-5. This is where the Berklee College of Music’s method of harmonic analysis comes in handy, using arrows and brackets to show the progression harmonically, without any chord symbols.

By studying the harmony of “Misty” from this perspective, we can clearly see that this is a secondary 2-5-1, where the target is not the I of the key. Instead, the ii/IV and the V7/IV are called secondary functions, because they target a primary function. The ii prepares the target by positioning the listener in the subdominant of that target, which then goes to the V in the dominant region which in turn, desperately wants to resolve to the target.

An important aspect of the 2-5-1 is that harmony follows the expected path of resolution towards a target. The ii chord prepares the target by positioning the listener in the subdominant of that target, which then goes to the V in the dominant region which in turn, desperately wants to resolve to the target. Also, the 2-5-1 creates the strongest bass movement of two consecutive perfect fifths.

Using this method of contextual deduction, we can work our way backwards from the target to determine the 2-5-1 progression. For example, in the case of Eb, the ii is Fm7, which would make our progression Gm7 to C7 to Fm7. If the target is the I (Eb), we would have Fm7 Bb7 to Eb, a primary 2-5-1.

Throughout “Misty”, we can see several 2-5-1 progressions using this method of analysis. It’s essential to consider the target when dealing with harmony, and always work backwards from there.

The 2-5-1 progression is crucial to understanding and playing jazz. It creates tension and release, and adds a sense of movement and resolution to a piece of music. By studying the harmony of great jazz standards like “Misty”, you can learn a bunch of new concepts that you can apply to your own process.

In conclusion, harmony is the best tool that we have for songwriting, and it’s important to study and understand it to become a better musician. By using the Berklee method of harmonic analysis, we can learn how to look at the progression harmonically, and study the different techniques used in jazz music. Whether you’re playing, improvising, arranging, or writing music, understanding jazz harmony can help you take your music to the next level.

If you want a workbook with harmony worksheets containing more than 1300 Jazz Standards to study and work on, check out The Ultimate Jazz Harmony Workbooks Bundle by mDecks Music

And if you want all Jazz Standards fully analyzed (with chord symbols, chord-scales, and arrows & brackets) check out The Jazz Standards Progressions Book by mDecks Music

If you want to learn more about the harmony in ‘Misty’ you can check out part 2: Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 2

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Succeeding on Twitch as a MusicianDanielle Allard is a singer-songwriter, multi-instrumentalist and Twitch Partner.