20 Harmonisations of the opening phrase to 'Misty': Guitar

20 Harmonisations of the opening phrase to 'Misty' In this lesson, we'll look at 20 ways you can harmonise the opening phrase of Errol Garner's famous composition 'Misty.' Learn the chord forms, then try transposing them into different keys, and mixing and matching them. We'll start diatonically, then get more dissonant as we progress. I chose 'Misty' because the melody note on the V chord is the 13th, which means that the standard altered dominant chords won't work. Instead, we can use the 13-9 chord, found from the diminished scale, to provide us with tension.

Guitar

Guitar

° & b b  bb ˙˙˙

˙˙ ˙

Fm11 6 8 8 6 8

¢ ⁄

www

˙˙˙

˙˙ ˙

www

B¨13

E¨Œ„Š9

Fm11

B¨13

E¨Œ„Š9

8 7 6

3 3 3 6

6 4 5 3

3 1 1

6

A. Gtr.

w  bw

˙˙  b ˙˙ ˙ ˙˙

Fm11

E7(#9)

E¨Œ„Š9

Fm11

B¨13(b9)

6 8 8 6 8

8 7 6 7

6 4 5 3

3 3 4 6

¢ ⁄

° & b b  bb b b˙˙˙

7 5 6

nn˙˙

9  

A. Gtr.

B¨13(b9) A. Gtr.

6 8 7 9

¢ ⁄

A. Gtr.

¢ ⁄

E¨Œ„Š7 3 3 3 6

6

n b www

˙˙  b ˙˙ ˙˙ ˙

E¨Œ„Š7(#11)

Fm11

3 2 5 6

6 8 8 6 8 6

3 5 4 6

ww w

ww w

B¨13(b9)

E¨Œ„Š7

8 7 9

7 5 6 6

6

¿ ¿ œÓœœ  bœ nœœœœ œ œ

˙ œ ™ ˙ nœ ™ ˙ bœ ‰  ™ ‰ ™ ‰ œ ™™

A¨%

B¨13

Fm11

6 6 5 5

3 3 5 6

4

6

° & b b  bb ˙˙ ˙ 13  

A. Gtr.

1

° & b b  bb ˙˙˙ # n˙˙ n 5  

A. Gtr.

3 3 3 6

let ring

let ring

E¨Œ„Š7 4

3 5 3 6

B¨13(b9)

6 3

8

E¨%

‰  ™ ‰  ™ ‰  ™

Copyright © Sam Dunn

5 6

7 9

7

8 8 11

2

¿ ¿ ˙ œ ˙ œ ° & b  bb ˙˙  b ˙˙ nœœ  bœ  b˙˙  bœœ  bœ nœ b œœ w w ˙ ˙  b œ ˙ œ  bw 17  

A. Gtr.

let ring

let ring

3

Fm11/B¨ B¨13(b9) A. Gtr.

¢ ⁄

G/B¨

E¨Œ„Š9 3 3 3 6

6 8 8 6

3 3 4 6

3 4 5

6

6

6

4

° & b  bb b b˙˙ n bn ˙˙˙  b 21 

A. Gtr.

A. Gtr.

www

 b ˙

¢ ⁄

A. Gtr.

A. Gtr.

G/A¨

6 7 6 6

3 3 4 3 4

3 3 3 6

6 7 6 6 5

3 3 4 3

7

E7(#9)

D¨7(#9)

6 8 7 6 7

3 5 4 3 4

B¨/B

G/A¨

6 6 7 9

3 3 4 6

4

A¨(„ˆˆ9)

A¨‹(Œ„Š7)

3 3 3 6 3

11 8 10 11

8 8 9 11

3 5 3 6

C‹(Œ„Š7) 3 4 1 3

E¨Œ„Š9

E¨%

nnww

˙˙˙  b˙˙

www w

wwww

3 5 5 6

 b#˙˙  bn˙˙˙ ˙ ˙˙ B¨7[åÁ]

° & b  bb b ˙˙˙  bn˙˙˙ ¢ ⁄

5

E¨Œ„Š9

29  

A. Gtr.

4

E¨Œ„Š13

3 5 4 6

D¨13(b9)

° & b  bb b ˙˙  b n˙˙˙ n˙  b ¢ ⁄

6 4 4 3

B¨13(b9)

B%

25  

A. Gtr.

F‹11(b5) 3

¿ ¿ œ  b œœ œ bnœœÓœ nœ let ring

let ring

B¨13(b9) 6 6 7 9

wwww E¨% 7 10 8 11

¿

let ring

œœ nœ

E¨Œ„Š7 8

3 3 4 6

5

3 3 5 6

5

3

˙˙ ° & b  bb ˙

˙ ˙ ˙ ˙  b ˙˙ #n ˙ ˙˙  b ˙˙ ˙˙ #nœœœ b œ b œ bn ˙˙ ˙ ˙ ˙ n

33  

A. Gtr.

Fm11 A. Gtr.

¢ ⁄

18 13 13 13 13

G/B¨

Dº/E¨

E¨6

Fm11

B¨13(b9)

D/E¨

15 12 12 12 13

10 10 11 10

11 12 10

15 0 13 12

10 10 11 13

11

11

18 13 13 17 13

œn œ¿ œ¿ ° & b  bb œ œ œ b œœ #nœ œ ˙ œ ˙ Fm11 ¿ B¨13(b9) ¿ D E¨ ¢ ⁄

3

13 13

In the last two examples, the melody is on the bottom let ring

37  

let ring

3

A. Gtr.

let ring

A. Gtr.

13

15 13 13 13

3

let ring

10

6 6 7 9

5

2 4

5 7

3 5 6

E¨Œ„Š9

3

let ring

12 13

11 12 15

¿

˙˙  b˙˙ #nœ nœ n˙˙˙ ˙ ˙ œ B¨11   G13(b9) D7 E¨Œ„Š9 3

3

4 5 6

3 4 6

6

3

5

2 4

5

3 3 6