Jazz Standard: Misty by Erroll Garner | Harmonic Analysis
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- เผยแพร่เมื่อ 7 ก.ย. 2024
- 🎸In this lesson, we'll do a harmonic analysis of Misty, one of the all-time great jazz ballads and standard repertoire for many jazz players. 👉 Over 600 Song Guitar Lessons With Chords, Tabs, & Lyrics: www.justinguita... #justinguitar #guitarforbeginners #jazzstandard
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*This lesson is part of my Jazz Guitar Course - Grade 6:* www.justinguitar.com/modules/jazz-standards
I guess there won't be too many people watching these analysis videos (because most players are not that advanced and/or into jazz - that's just how the world turns) but PLEASE keep on doing these analyses, you are so good at it, it's ridiculous!
I appreciate them so much! I wish they'd be more popular..
I'd be surprised if that were the case if it's jazz standards and players we're talking about here because this is a relatively simple tune compared to something like 'Cherokee', 'ESP' or 'The Sorcerer'
Thank you Justin.
I want to add about the Ab-7 Db7 cadence. You've intrepreted it as a two-five progression that has no solution. The more common analysis that I know is that It's a IV- bVII7 cadence aka - Backdoor Cadence.
Jazz just made so much more sense to me!!!! Thank you so much!! Now I understand why my teacher used to say, "Once you know 2-5-1 in all keys, you can play any jazz song". Thanks again!!
Thank you, you have really amazing lessons. People like you make internet a real cultural revolution!
I've been quite interested in jazz harmonic analysis recently and there is one thing I really like about you Justin: no matter how many videos or resources i might have checked through on a subject, I always learn something new watching your videos. You're a great teacher. Thanks a lot!
Justin,
Im a single note musician on Bb trumpet trying to advance my improv beyond playing by ear. This is exactly what I needed to see to start under standing and you helped- Thank you!
Thanks for the analysis!
Thanks for reminding me how much I have forgotten since music school.
i really appreciate these indepth jazz lessons justin its helping me to understand and be more in touch with jazz ive always to learn
Great - thanks Justin! :-)
watched this video about a year ago and got a lot out of it then. been getting into harmonic analysis and got almost everything right away except wanted to explore the modal interchange a bit more. such great stuff and so helpful! It is true though the more you do it the better you get at it. if you are new to jazz just keep at it and harmonic analysis is a great way to get better at really understanding music in general.
these videos are absolutely awesome.
I really like these harmonic analysis video's Justin! it's great to know why you are playing what you're playing, so you can make "intelligent" decisions about what keys and scales you use when it's time to solo through the changes..
Very helpful, thank you !!
I really can't emphasize enough how helpful this video was and how thankful I am that you are teaching harmonic analysis in this way. Thank you, for this and your other analysis videos.
What a stunning stunning guitar
Owesome analysis!! Such stuff is missing from the web. Keep on the excellent work & give the people who are really interested some more deep insight! :)
Thanks A LOT!
Beyond the terrific work, even for somebody like me who knows very few about chord analysis,
I believe that this song starts with the most beautiful verse in jazz history:
"Look at me
I'm as helpless as a kitten up a tree"
Thanks for the lesson on analysis. I'll give it a try on a couple standards I'm working on.
What a great lesson! for the first time in years, i now i believe i can learn (and understand) some jazz.
Great video. Clear and concise instructions for the harmonic deconstruction of a classic jazz tune. I learned a few things.
Thanks, Justin.
There are no key changes in the A section. You'd think the complete absence of accidentals in the melody might have given you a heads up on that Justin. Still, that's the joy of youtube, people who haven't quite got it thinking out loud as a way of giving idiots just enough information to make them impossible to teach afterwards. Well done....
I wanted this song to be my first jazz standard to play …. Too complicated hahaha I guess I’ll start with autumn leaves
At last I find this f....g (Errol please excuse me) F7 in the bridge explained ! And I like your explanation. Thanks very much.
Best teacher online by far.
Awesome!!!!
Saludos Amigo,
Excelente trabajo.
Outstanding breakdown. Thanks very much. Extremely helpful. Using my real books now will be a lot easier and lot more educational and enjoyable. Well done.
Thank you! This lesson is very helpful
really well delivered. Succinct and clear. Thank you!
Very well done. Will be coming back for more.
YOU are a FRICKEN GOOD teacher. Keep it up!
I'm learning a lot from these analysis, thanks a lot !!
This is what i'm looking for thanks justin great job!
OMG my brain is going to EXPLODE...AAAAAAAARRRRRRGGGGGGGGGG srsly bro
Well blow me down, a clear video at a decent level ;)
Thank you Justin. A very good lesson.
Thanks for doing this - very helpful.
A good, patient analysis. Thank you, Justin. Curious thing is that Error Garner didn't read music. Or at least that's the legend. It would be interesting to try to get into Garner's musical mind and imagine how he might have put the sounds together. Did he write melody first, then harmony? Harmony first? Or both simltaneously? Was each chord a reaction to the last? Or did he know exactly where he was going?
+Bubba Rand Talking about awkward. ;) Very good point. I guess he did never need a harmonical analysis, he just knew what he was going to create and he sure mastered his instrument enough to be able to play what he had in mind.
Very interesting your Jazz lesson... Thank you for sharing
Superb, thanks Justin.
I love this lesson, thank you Justin!
Nice analysis good
what is the next jazz standard you are doing?
also, love this series.
Truly helpful! thanks so much!
Excellent.Thank you .
Keep them coming, man! Great job!
Hi Justin. I write from Chiang Mai, Thailand, where I am learning jazz alto sax and as much theory as will keep me out of trouble. Your videos, though for guitar players, are excellent and thanks for putting them up. One piece I didn't quite follow. When you discussed modal interchange and moved from EbMaj to Ebmixo and EbAeolian, you then wrote out the chord sequences. For EbMajor, this went M m m M D m m(b5). = EbMaj7, F-7 G-7 AbMaj7 Bb7 C-7 and D-7 (b5).
When you listed the equivalent chord progressions for EbMixolydian and EbAeolian, you used a different sequence. For Mixolydian this went (I think I am right) D m m(b5) M m m M = Eb7 F-7 G-7(b5) AbMaj7 Bb-7 C-7 Dmaj 7.
How did you arrive at this and how did you then arrive at a different sequences for Ed Aeolian? What theory am I missing here please?
Hope you get this message and that I will see a reply. Thanks again, Mike
+Mike Shortland Study the scales
+Profiledek No idea what your reply is intended to mean, and it isn't helpful. Cheers anyway.
Mike Shortland I mean you should study Mixolydian and Aeolian scales - then you can see the notes and why the chords are changing their thirds, and other elements. It's the only way. Now you understand?
I'm truly sorry about being unclear
thank you please keep doing this!!
Thanks man! do some more!
I believe this song is actually in the key of A flat major in the mixolydian mode with the mode changed to a key in some parts. The fact that the key signature says E flat does not mean much to me. The reason is two-fold. 1. Modes are almost always referred to as keys even though they are a mode. 2. This song seams to go from the mode to change to the actual mixolidian key. For me I write at the top of the page that it is in the Key of A flat in the Mixilodian Mode/Key. That way I play the A flat mixilodian scale and hit all the correct notes.
Great lesson, Justin, but I suppose the II chord in Eb aeolian (nat. minor) should be Fm7b5 instead of Fm7.
Thanks!
Thank you! This made me move forward a LOT. =)
Fantastic video. Justin is an amazing teacher. If he did this to a whole bunch of jazz ballads i'd love it
Thank you! This is great!
You lost me at hello. But, I am intrigued. Always have been. That is why I keep coming back.
Hey Justin! Would you mind giving us some names of jazz standards that are proper to learn for beginners? Thanks a lot for your lessons : )
I believe he has quite a list on his website, right?
ultra. awesome.
wow great.. I get the basic idea. Now how do you combine chords and melody into a solo arrangement in the style of Joe Pass? I guess that would be lesson four? And then please do a lesson five as well on solo/improvisation over these chords
thks
Hi Justin,
I like your "standards analysis" very much ! Have you by any chance already done the same kind of analysis for summertime ? (please excuse my english) PS : Your guitar lessons are great too :-)
Justin, how do you explain what's happening harmonically when the song modulates from Ebmaj7 to Am7 in the bridge. I know it's the 2-5-1 of Gmaj7 but the fundamental change (flat fifth) is a quantum leap to my ears!
Isn't Abm7 -> D7 -> EbM7 a II-V-I with a deceptive cadence, substituting the I (= GbM7) of that sequence with the I of the key (EbM7), since in Gb and Eb are both tonic in the key of Eb?
analyse très intéressante..........
I may have missed a lesson... how do you find the 'chords in the key' at the beginning? Thanks
changing to mixolydian from Ionian is the same thing as modulating a 4th, so...?
I completely understand .... what Ralph Wiggum was talking about now when he said, "My cat's breath smells like cat food." Yep I got that totally now.
Why do you look for the dominant 7th after a possible key change?
Way over my head but still, I try to pick up something!
I'm a bit confuses. At 1:33 you mention key change but the song as written by Erroll Garner doesn't have a key change. Is the "key change" he's referring to an implied key change used in the Real book and is that common? Thanks again for the lesson.
+Eric Schwartz What he means by this is that Bbmin7 can't exist in Eb Major scale/key. That's because in Eb Major scale you got a D note. That note definies the Major mode of the Bb chord (which is the VI chord in Eb Major key). So it's Bb7, not Bbminor7. If it was minor, there would have to be C# note in the scale. Just play these chords and look at the notes. So, if Bbmin7 seven doesn't exist in Eb Major key, it must be a chord from another key. On the video Justin explains what key is the new key that brought a chord from beyond the MAIN KEY, which is Eb Major. Let me know if that helped a bit
Ah...got it thanks....
thanck good lesson pleasure
guys who ignore this lesson, let me tell you, that's what music college teaches to students for crazy money. u need to learn at least once. because there must be a reason why the college teaches that kind of lesson.
I think I will stick with finger shapes and strumming patterns. Looks Chinese to me. My mind is turning misty. Maybe that's where the song got it's name.
40 seconds in and I'm lost.
3:39 OH! That's a sex chord!
Which fake book is that? Thanks for the analysis.
Excellent, thank you.