Backdoor 2-5 Progression in "Misty" using Berklee's method

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Backdoor 2-5 Progression in "Misty" using Berklee's method | Jazz Harmony Lesson

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mDecks Music

Күн бұрын

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@mDecksMusic 2 жыл бұрын

Download the ultimate jazz harmony workbook here: mdecks.com/jazzharmony.phtml

@Leomusicalheart 2 жыл бұрын

Wow man, this is so I inspiring! I hope one day I can play the piano using those methods, they're awesome! You're awesome! 😃 🙌🏼

@ibdense Жыл бұрын

1. Back in the 80s my boss (I played B3) asked me to learn the new Neil Diamond song September Morn. First time I heard it I recognized the chords of the verse as being sorta Autumn Leaves-ish, and the chorus was pretty much the verse of Misty. I didn't know wether to laugh or report Diamond for stealing. =================== 2. Back in the 60s I remember seeing a book in a music store that I wish I had purchased because nobody believes me when I tell them about it. It was called something like How To Play Songs With Just Three Chords It included songs like I Left My Heart in San Francisco. Your comment (2:36) about the Em7 being just was the upper structure of the Cmaj7(add 9) was something I figured out back then in my quest to reverse engineer (in my mind) how to play all those songs with just C, F, and G7.

@pnojazz 2 жыл бұрын

Man, this is great STUFF!

@bsorryrthatsit7055 Жыл бұрын

Thank you for that.

@anthonysilva5312 Жыл бұрын

Subscribed

@alanzelicoff3421 2 жыл бұрын

Another great lesson. Two questions: (1) Regarding the Gm7 --> C7b9 in measure 7, you note that because this is a ii7/II (and not a iii7) we must look at this Gm7 as pairing with the Dorian b2 which in turn enlightens the improv possibilities, in particular using an E instead of an Eb (as would occur with the phrigian scale. Could you possibly illustrate an example and how the improve would progress more interestingly than if one were restricted to using an Eb for improvisation on this chord? (2) Is MTH Pro actually able to figure out that the Gm7 is a ii7/II as opposed to a iii7 when mapping this particular tune? In other words, if I started from scratch with Misty and entered in chords from, say, the RealBook (or whatever), would MTHPro immediately point out that the progression is NOT iii7, vi7, ii7, V7, I but rather ii/II, V7/II, ii7, V7? If so, that is magical, and does indeed provide new insights into improv based on chord-chordscale pairings. And thanks for MTHPro !

@monkface Жыл бұрын

Gosh I guess I'm a bit confused about the ii/II and the Dorian b2. In the Roman numerals I see the ii/II so is that II the major ? Since we are in the key of Eb but then a major F? So why the Ab? Or is it still an F minor chord and the ii would be G minor and in that case why the E natural?? Does this question make sense??!?

@mDecksMusic Жыл бұрын

We used ii/II but we don't mean II major. It's just a way of writing the targets with upper case roman numerals. The ii is almost always minor (although there's a II7 chord in jazz) But in this case the ii is minor. ii/ii would be better probably. The important thing is that a ii/ii targets the ii chord (which is minor) So, the 3rd of the 2 chord (Ab on Fm) could be used to build a chord-scale on the ii/ii (Gm7 with an Ab), and the V7/ii (C7) contains an E note (the 3rd of C7) when you combined those 2 notes (Ab and E) with the Gm7 chord you get a Dorian b2 scale. G Ab Bb C D E F. So the Dorian b2 on the ii/ii is a great choice to suggest the target (Fm) and at the same time offers the 3rd of the V/ii (C7)

@monkface Жыл бұрын

@@mDecksMusic got it! Thank you. Yes once I started thinking of the F as minor I can see the Ab that would make the G = Dorian with a flat 2. AND I forgot to make the C (V of...something) a dominant chord! It the secondary DOMINANT after all, so yes a C E G Bb. Ok thank you.