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- Dec 13, 1999
- 11,736
- 8,941
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
Yeah, I guess I was hearing all of that (bar 5 of the bridge) as Bb7. Oh well, look for my basses on EBay...
Isn't that the part with the lyric:
Don't you notice how hopelessly I'm lost
That's why I'm following you
Don't you notice how hopelessly I'm lost
That's why I'm following you
Independent from which is the right/original chord progression for Misty, just trying to explain the given (and possible) chord progression:
| Am7 | D7 F7 | Gm7 C7 | Fm7 Bb7 ||
| ii7 | V7 bVII7 | i=ii V7 | i=ii V7 ||
The bVII can replace the dominant V, so bar two is still dominant, but with some changes in the notes which could be seen as some spice. Am7 contains an E natural, that stays in the D7 (no reason to be changed in the scale chord which could be a D9), but due to the F7 goes chromatically down to Eb and in the Gm7 down to D. The minor seventh in the F7 is just some spice to the chord progression and does not change the basic progression of the functions as it is a replacement for the dominant.
I would not follow the argument the root and seventh being the b9/#9 of D7. The root note changed, so it is no longe based on D. A certain familiarity is there but not heard in that way.
| Am7 | D7 F7 | Gm7 C7 | Fm7 Bb7 ||
| ii7 | V7 bVII7 | i=ii V7 | i=ii V7 ||
The bVII can replace the dominant V, so bar two is still dominant, but with some changes in the notes which could be seen as some spice. Am7 contains an E natural, that stays in the D7 (no reason to be changed in the scale chord which could be a D9), but due to the F7 goes chromatically down to Eb and in the Gm7 down to D. The minor seventh in the F7 is just some spice to the chord progression and does not change the basic progression of the functions as it is a replacement for the dominant.
I would not follow the argument the root and seventh being the b9/#9 of D7. The root note changed, so it is no longe based on D. A certain familiarity is there but not heard in that way.
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Don,
Sorry I'm slow but...
Could you help me, please, with that "Fmin7-Bb7" chord structure.
I can only hear the note Eb in the bass with that Fmin11 chord - as Fmin11/Eb.
I'm quoting your provided video. It's at 1:35.
Next - Bb7 is correct as Bb6/7/9.
In the second repetition, the bass, indeed, plays F with Fmin7(11).
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After listening with your input, made me realized I had a hard time with the Bbmin,maj7. But then listening to it make me hear a bit more...
When you write Eb7- Bbmin,maj7/Eb7/ Do you feel like there is a bit more there? Something like Eb7 - Bbmin,maj7/ Bbmin7 - Eb7/ ? I'm hearing a chromatic descending line.
Yes, there is a descending chromatic line - Bb - A natural - Ab - G.
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Sure - there could be more intricate (inner) voice leading going on there....I am not an accomplished "pianist".
But the takeaway for a bassist, (accompanying a pianist), is to support the chord voicing(s) with a strong note(s).
The OP's inquiry was questioning the root movement of the "F7". I was merely attempting to clarify what the pedigree of the F7 was derived from.
Thanks, Silevesq.
The bass note @1:35 is difficult to hear for me, BUT, the pianist is clearly voicing an Fmin7/9 etc...Maybe the bassist made a mistake and played an "Eb" there?
I am not specifying exact voicings, only global harmonic information that any bassist is expected to hear and respond to in real time, (without any ASD assistance.) So in my real-time world "Bb7" = "Bb6/7/9" or "Bb7,9,13" as I would write it.
I am not an accomplished jazz "pianist"...but,I have sat at a piano and figured out a lot of harmony, with which (along with $3.25) I can buy a cup of coffee.
Thanks.
That's a REALLY good price on that cup of coffee! Where, exactly, is that? Might be worth the drive!
The bass (from your provided video) plays Eb - Bb - F - Bb.
To me, it creates a nice melodic movement in the bass.
I don't know how to name that chord of (ascending) C-D-G-Ab and Bb in the bass.
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I hear Bbmin/Eb | Bbmin maj7 | Bbmin7/Eb | Bbm6 - Bb/G|
The bass: Eb - Bb - Eb - B/G.
Nope....The bass is playing a Bb on beat 3, then 2 quick eighth notes "Bb to G" on beat 4, leading to the Ab tonic - the pianist is voicing some type of "Eb7,+5......." on beats 3&4. I would not have placed that many Bb's under the Eb7,+5 chord on the last 2 beats of the bridge.
There is no reason to re-name the chord based on the quick "G" in the bass. This is a very clear "V7+5- Imaj7" cadence.
I'm not at all fond of such loose harmonic liberties (in the bass), esp. on a Ballad.
But that's me.
IMFO, of course.
Man, where can you get a cup of coffee in LA for $3.25? That's a steal!
I think the OP - Papageno - was quoting Johnny Mathis' Misty recording.
It's in Eb.
In Bridge, YES, there is
Amin7/D7(D9) | Cmin7(as Cmin13)/F7(as F9)| Fmin7...
Actually I was not. I was working on the chord progression from the Real Book, which the one used by the people I play with.
