Standard Changes

[gmc]

This post is about Misty, but I suppose any discussion of changes / chart corrections could go here.

So. The PG-supplied chart for Misty has these changes for the B-section turnaround,

| Bb9 Edim7 | Fm11 Bb13(b9) |

That’s how I’ve been playing the tune for a couple of months. Nifty. So I finally installed iReal and i’m playing along, minding my own business, and suddenly the turnaround sounds nasty, and I don’t mean playfully wicked. The iReal chart has this for the same turnaround:

| Gm7b5 C7 | Fmin7 Bb7 |

So those first two chords aren’t playing nice with iReal. It’s a situation. The PG Beginner Arrangement PDF has a D instead of a Db, which makes sense with a Bb9, but not with the half-diminished G chord. The C7 and Edim7 chords are basically interchangeable, so I suppose there will be a variation in transcription depending upon what the bass player’s doing (or whoever’s playing the bass note), but the D/Db is making things a little tense.

I should mention that the iReal chart comes from IReal forum’s 1300 jazz standards download thing. But the discrepancy appears elsewhere, too. My old Real Book (not the “New” edition) has a Gmin7b5 too. I quickly looked up an analysis of the chart on YouTube, and that example has a Gmin7.

Obviously, lives aren’t at stake here, and the fix for iReal is trivial. But I am curious about the correct analysis, whatever that means. It does seem like a Gmin7 to C7 change makes the most sense, because it’s a pretty straightforward ii-V setup for the Fmin7,

Anyone have a take on this? Thoughts? Feelings? Angry retorts?

[LoriNelson]

I have edited the iReal pro chords when they don’t match my changes. Unfortunately I can’t remeber how I did it, but it is possible. Then my “band” played what I wanted them to.

[smole]

You are right, Lori: if you click on the pencil icon in the upper right corner in iRealPro tune, it opens the edit option.

Gregory, I struggled with the same problem; can’t recall the exact details but I remember that analyzing chords in which individual tones they share, it helped me understand the problem. E.g., a diminished E chord and C7/b9 share several notes and are easily interchangeable.

What a lovely tune. Smole

[gmc]

Thanks for the replies.

What I was really looking for is some idea about the changes themselves. Edim7 can be a sub for the C7, but the Gm7b5 doesn’t work well as a sub for Bb9.

So – I’ve quickly looked up a performence by Erroll Garner and the Johnny Mathis arrangement. Garner, who composed the tune, sounds to me like he’s playing a G7? – a straight-up dominant? – and the Mathis version sounds more like PG’s simple PDF.

From a pragmatic standpoint, I guess figuring out the Gm7b5 makes the most sense because it seems to be in print and if there’s a doubt then one could play a Bb, an F, and a C and smile wide.

If anyone has any analytical or historical insights here, I’d be grateful.

[Hayden]

Interesting question Gregory.

Firstly, the RealBooks contain LOTS of mistakes, in the chord symbols, the melodies, and sometimes even inaccuracies in the form length such as missing bars. Always keep in mind that those books are not fully accurate, and sometimes completely inaccurate.

@gmc

| Gm7b5 C7 | Fmin7 Bb7 |

Yes I agree, this makes more sense harmonically:

It’s a 3-6-2-5 back to Ebmaj7 with the -7b5 colour over the iii-7 chord.

I first learnt Misty from the RealBook years ago (it was one of the first tune I learnt) and since then have come to realise how many inaccuracies there are. The best thing you can do is listen to the original. I do like the sound of a Bb13sus at the end of the bridge, very uplifting, but just my personal taste.

@gmc

The C7 and Edim7 chords are basically interchangeable

Yes the way I like to look at it, is that every diminished chord, is a dominant b9 chord in disguise.

Simply add a note a major 3rd below the root of the diminished chord, and you have a dominant b9 chord.

I would still look at this as a 3-6-2-5 progression, but the iii-7 is now rootless (still contains 3 and b7 of C7 but has the b9 for extra colour)

| Gm7b5 Edim7 (C7b9) | Fmin7 Bb7 |

My final thoughts Greg…

Follow your own ears. If you’re playing this solo, you can play whatever changes you want.

If you’re playing with iRealPro, then follow those changes. Ultimately, it’s just one chord different.

I have only ever played this tune solo, but if I was to do it with a singer for example, I would run through it, see how it sounds, if something sounds off, then I would check iRealPro.

Generally, I have found that iRealPro is more to the original that the RealBooks and contains less mistakes. I usually look at both, as well as listening to records, and it gives me tonnes of ideas for reharms and alternate changes.

Hope this helps

[Hayden]

Check out this lesson Greg:

1625 & 436251 Progression for Jazz Piano Introductions

One things with turnarounds is that they can all be dominant chords.

For example, the last 4 bars of the first A Section of Misty are:

But we can also play G7 / C7 / F7 / Bb7 → leading to Eb Major

All dominant chords!

The purpose of the turnaround is to take you back to the 1, so we can use the 25s as shown in the iRealPro, or we could play a string of dominants which each have that strong sense off pull a 5th down which takes you back to the 1.

There are many other versions of turnarounds too. That’s a nice idea for a 5-min masterclass and would fit perfectly with demonstrating over jazz standards. I have added it to my lesson schedule.

Any other questions here I’m happy to continue the discussion . Cheers!