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Recently, I studied the tune 'Misty' by Eroll Garner. I was slightly confused as to the middle section of the piece, as it involves a passage with some delayed resolutions. I have come across three different interpretations of the middle section, all of which involve interpolated chords. So, my question is, why these chords? How/ why do they work?

Big thank you to John Belzaguy for providing the following analyses.

Version 1:

A-7 (ii/V7/iii)- D7 (V7/iii)- F7 (V/V)-Gm7 (iii)-C7 (V7/ii)-Fm7 (ii)- Bflat7 (V)

The D7 does not resolve to Gm7 straight away. Instead, it moves to F7 before resolving to Gm7. Why does this relationship (D7/F7) work?

the F7 does not resolve to the B flat 7 straight away. Instead, it moves through Gm7, C7, and Fm7 before resolving to Bflat7. Again, why does this work?

The second version is similar, but this time we have a difference at the start:

A-7- D7(V7/iii)-Cm7 (vi)-F7 (V/V)-Gm7 (iii)

Here, the D7 moves to Cm7 and F7 before resolving to Gm7.

So, with interpolated chords, is it a case of being able to roughly do as you please because soon the resolution will come? Or is there a certain method behind these delayed resolutions?

thanks!

Ed

Recently, I studied the tune 'Misty' by Eroll Garner. I was slightly confused as to the middle section of the piece, as it involves a passage with some delayed resolutions. I have come across three different interpretations of the middle section, all of which involve interpolated chords. So, my question is, why these chords? How/ why do they work?

Big thank you to John Belzaguy for providing the following analyses.

Version 1:

A-7 (ii/V7/iii)- D7 (V7/iii)- F7 (V/V)-Gm7 (iii)-C7 (V7/ii)-Fm7 (ii)- Bflat7 (V)

The D7 does not resolve to Gm7 straight away. Instead, it moves to F7 before resolving to Gm7. Why does this relationship (D7/F7) work?

the F7 does not resolve to the B flat 7 straight away. Instead, it moves through Gm7, C7, and Fm7 before resolving to Bflat7. Again, why does this work?

The second version is similar, but this time we have a difference at the start:

A-7- D7(V7/iii)-Cm7 (vi)-F7 (V/V)-Gm7 (iii)

Here, the D7 moves to Cm7 and F7 before resolving to Gm7.

So, with interpolated chords, is it a case of being able to roughly do as you please because soon the resolution will come? Or is there a certain method behind these delayed resolutions?

thanks!

Ed

Recently, I studied the tune 'Misty' by Eroll Garner. I was slightly confused as to the middle section of the piece, as it involves a passage with some delayed resolutions. I have come across three different interpretations of the middle section, all of which involve interpolated chords. So, my question is, why these chords? How/ why do they work?

Big thank you to John Belzaguy for providing the following analyses.

Version 1:

A-7 (ii/V7/iii)- D7 (V7/iii)- F7 (V/V)-Gm7 (iii)-C7 (V7/ii)-Fm7 (ii)- Bflat7 (V)

The D7 does not resolve to Gm7 straight away. Instead, it moves to F7 before resolving to Gm7. Why does this relationship (D7/F7) work?

the F7 does not resolve to the B flat 7 straight away. Instead, it moves through Gm7, C7, and Fm7 before resolving to Bflat7. Again, why does this work?

The second version is similar, but this time we have a difference at the start:

A-7- D7(V7/iii)-Cm7 (vi)-F7 (V/V)-Gm7 (iii)

Here, the D7 moves to Cm7 and F7 before resolving to Gm7.

So, with interpolated chords, is it a case of being able to roughly do as you please because soon the resolution will come? Or is there a certain method behind these delayed resolutions?

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Interpolated chords: How do they work?

Recently, I studied the tune 'Misty' by Eroll Garner. I was slightly confused as to the middle section of the piece, as it involves a passage with some delayed resolutions. I have come across three different interpretations of the middle section, all of which involve interpolated chords. So, my question is, why these chords? How/ why do they work?

Big thank you to John Belzaguy for providing the following analyses.

Version 1:

A-7 (ii/V7/iii)- D7 (V7/iii)- F7 (V/V)-Gm7 (iii)-C7 (V7/ii)-Fm7 (ii)- Bflat7 (V)

The D7 does not resolve to Gm7 straight away. Instead, it moves to F7 before resolving to Gm7. Why does this relationship (D7/F7) work?

the F7 does not resolve to the B flat 7 straight away. Instead, it moves through Gm7, C7, and Fm7 before resolving to Bflat7. Again, why does this work?

The second version is similar, but this time we have a difference at the start:

A-7- D7(V7/iii)-Cm7 (vi)-F7 (V/V)-Gm7 (iii)

Here, the D7 moves to Cm7 and F7 before resolving to Gm7.

So, with interpolated chords, is it a case of being able to roughly do as you please because soon the resolution will come? Or is there a certain method behind these delayed resolutions?

thanks!

Ed