Misty (19-TET microtonal piano cover)
I decided to cover Misty with 19 notes per octave! It's a jazz tune written by composer Errol Garner. If you haven't heard the song before, I highly recommend this rendition: • Erroll Garner plays Misty
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You can find sheet music for this arrangement of mine here:
/ 59589098
When I created this arrangement, I was using the chart in E♭ from the sixth edition of the real book. Normally there's a sequential chord progression where the ii-V of A♭ is used, and then the ii-V of G♭ is used (but then it snaps back to the home key of E♭ through backdoor cadence). Among many other chord changes I made, the main one is that these pairs of chords were replaced, with (relative to the home key), a ♭III, and then a V/IV that's a tritone sub. This makes the main progression:
|E♭ / / /| G♭2/B♭ / A+7(♭3) /| A♭ / / /| F♭2/A♭ / G+7(♭3) /|
|Cm6 A♭M9/C A♭m6/C♭ /| BM7(♭9, ♯11) / B♭13 /|
The A+7 and the G+7 are spelled in inversion when the ♭4 is written above them instead of the major third, but those notes definitely sound and act like the roots. There are several times when both are used and the ♭4 moves down to ♮3 (like, D♭ to C♯ in the A+7 chord and C♭ to B♮ in the G+7 chord), such as during the opening verse melody and during the fifth statement of that verse melody (where I just play eighth notes). The ♭4 is used to promote agreeableness with the ♭3 (and forms a mode of melodic minor), and the ♮3 is used to sound like an actual major third in the chord, as well as lead to the next chromatic semitone linearly in the inner voice.
Other chord progressions that sound wonky include the ends of the turnarounds! When the verse melody repeats, it normally ends by holding a G and using circle of fifths progressions under it (G7, Cm7, Fm9, B♭13), but in this version I found that ascending by diminished fourths (instead of perfect fourths) also works. Thus, at the ends of the verses, the chords are generally variants of:
|A7 / D♭6/9(♯11) /| F♯7(♭13) / B♭13 /|
At the chorus turnaround, I start a chromatic semitone lower, which means that for the last two chords, I legitimately do ii-V-I instead of ♯ii-V-I
|A♭M9 / C#(♭♭7) /| Fm9 / B♭13 /|
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