Misty

Discussion in 'Tab, Tips, Theory and Technique' started by Brett Fuzz, Jun 12, 2014.

  1. BigbirdPhila

    BigbirdPhila TDPRI Member

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  2. upinthemteles

    upinthemteles Tele-Meister

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  3. Ramblin Ray

    Ramblin Ray Tele-Afflicted

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    Wonderful Steel solo on Ray's version by the one and only Jay Dee Maness.
     
  4. klasaine

    klasaine Poster Extraordinaire

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    In the bridge or section notice that the melody under Am7 to D7 (bars 5 and 6 of the bridge) is still in the key of Eb major. Great example of sub chords - modal interchange - as a written part of the original tune.
     
    Last edited: Jun 20, 2014
  5. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    The only time I've seen something labeled "modal interchange" (is that a Berklee term?) is when you borrow from the parallel minor (eg a iv chord). Am7 to D7 is from G, can you just say "modal interchange from G" or "from *random key*"? Seems like a free justification for any sub at all.
     
  6. Brett Fuzz

    Brett Fuzz Tele-Holic

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  7. klasaine

    klasaine Poster Extraordinaire

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    You're right actually, though it can be any mode/scale with Eb as the root.
    I'm using the term too loosely though I do sort of think of and even hear that Am7 as an Ebmaj7#11 chord - so basically Eb lydian.
     
  8. slowpinky

    slowpinky Tele-Afflicted

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    Yeah its pretty loose.. I can really hear that D as the 3rd of Bb7(which is still really the 7th of Eb) - or a II7 on Ab - and I've tried some subs to highlight that like |Bm7b5 E7 | Am7 D7 | which works sort of ok - as its all ending on the iii VI ii V turnaround anyway- but the straight Am11 D7 still sounds better to me.
    When Im hearing that melody note on the Bb7 - I'll often gesture an Fm7 (or even F7alt) before the Am7 as a kind of false lead to it.

    Bbm7| Eb7 | Abmaj | Fm7| Am11 |D7 etc.....
     
  9. TelecasterSam

    TelecasterSam Tele-Holic

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    That is beautiful and very interesting. I can see that being a must learn for learning to play jazz guitar.
     
  10. klasaine

    klasaine Poster Extraordinaire

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    I think I'm gonna 'chord melody' this bad boy in a week or two. This thread made me hear some interesting things over this war horse. Lets see if I can add to the myriad of stellar versions already out there - ?
     
  11. the embezzler

    the embezzler Tele-Holic

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    Making your first Ebmaj7 an +maj7 or -maj7 can be a cool reharm.
     
  12. klasaine

    klasaine Poster Extraordinaire

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    I'll have at least three chances at that first I chord.
    One of them will undoubtedly be a m/M.
     
  13. stringslinger

    stringslinger Tele-Holic

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    Another reharm option would be to allow the first 3 notes (Bb, G, D) to still ring over in the first bar, but swap out the bass note. First one that comes to mind is Em7(b5), which leads nicely to A7(alt) or A7sus, which can slide into the original ii-V movement (Bbm7, Eb7). I might prefer the A7sus (or A7sus(b9)), so that you don't give away the sweet melody note in Db (aka C#) too soon. Just an initial thought
     
  14. slowpinky

    slowpinky Tele-Afflicted

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    First chord favourites? At the moment Im liking Cm9 to B7#9 but usually in the second A.
     
  15. the embezzler

    the embezzler Tele-Holic

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    How about this for the opening II-V-I.
    Turn it into a minor II-V and make your IIm7b5 a secondary dom. So in this case D7alt with a b13 on top (that's our Bb) to G7alt to Cm9.

    Try these grips -

    x54566 - D7alt
    xx3443 - G7alt
    x3133x - Cm9.

    Play it at the top of your second A :cool:
     
  16. klasaine

    klasaine Poster Extraordinaire

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    I love it! Voicing recommendations requests.
    What if gigs were this way?
     
  17. the embezzler

    the embezzler Tele-Holic

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    More opening II-V ideas....

    Backdoor with a II-V in G major =

    Abmin9/Db7#11/Am11/D7/Eb+maj7 (each chord for one beat except the final chord is held for two beats.)

    4X4446
    X43443
    5x553x
    x5453x
    x6543x

    Descending bass idea -

    Bbsus9-AbmM7-Ebmaj7/G

    6X6546
    4X3443
    3X133X
     
  18. Space Pickle

    Space Pickle Tele-Meister

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    you embezzled those chords
     
  19. stringslinger

    stringslinger Tele-Holic

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    I see what you did there. Like some mentioned, I like the approach of reharming for the second A section. Because otherwise, the ear won't have anything "original" to compare the reharms to.
     
  20. klasaine

    klasaine Poster Extraordinaire

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    One of the secrets to good re-harming is knowing when not to do it.
    Jazz rule #17 ... do no (re)harm.

    *Having said that I've probably got 14 different [A] sections for Misty.
     
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