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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?

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The most simple explanation why this works so well is (to me):

F6 is D7 with a blue note (minor 3rd).

I've seen 2 different pdf:

  1. Am-D7-Cm7-F7
  2. Am-D7-F67

Misty 1

Misty 2

both resolve to Gm7b5-C7b9-Fm7-Bb7 which is (ii7b5-V79)/ii7-V7 of Eb

The F6 chord in question can also be interpreted

  • as 1st inversion of Dm7 (a ii suspension before resolving to Gm
  • a backdoor cadence D-F-Gm (V-bVII-i) = vi of Bb
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  • thank you for your answer! I just want to make sure I am understanding you. Are you saying that the D7 in example 1 is substituting an F chord (chord II in E flat)? So the progression is essentially going (from D7 or 'F'): F-Cm7-F7 ? (II-vi7-II7)? If so, is it regular for II to move to vi? Obviously I am familiar with vi moving to II! In example 2, I understand D7 moving to Dm7 (inverted F6) before resolution, they are just one note different. I am just confused as to this being a suspension, as wouldnt a ii suspension here be GAD? I understand the backdoor, but surely Gm is iii of Eb? – EdB123 Mar 7 at 22:22
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The chord sequence seems to be a modified cycle of fifths (with some substitutions). As long as the voice-leading is good (especially between the soprano and bass), most progressions work.

The only seeming out-of-place chord is the F7. It does share two tones (A and C) with the D7 three tones with a Dm chord (F, C, and D). The only tricky problem is the movement from F7 to Gm; there is the danger of parallel fifths or octaves if both are in root position; putting either chord in first inversion would work.

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  • Forget the rule concerning parallel fifths in this Jazz style. – Albrecht Hügli Feb 28 at 18:03

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