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.

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