Notes on ALCM Analysis. Modes Lydian Dominant = Dominant Seventh with Raised Fourth. C D E F# G a Bb C Half Diminished = Locria

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Notes on ALCM Analysis. Modes Lydian Dominant = Dominant seventh with raised fourth. C D E F# G A Bb C Half Diminished = Locrian Mode S T T S T T T C Db Eb F Gb Ab Bb C Diminished Whole Tone = Altered Scale S T S T T T T C Db Eb E F# G# Bb C Diminished Scale = T S T S T S T S C D Eb F Gb Ab A B C Dominant Seventh using Diminished Scale = S T S T S T S T C Db Eb E F# G A Bb C Turnarounds A turnaround is a chord progression that helps bring a chord progression back to the tonic key. Usually in the last two bars or end of section. A Backdoor turnaround is a sequence of chords which start with I and then brings you back to the same Chord. Usually this uses Chords IV to Vii (ladybird). A backdoor turnaround using a minor 3rd substitution (ii Vii I) can be found in Tenderly. Dameron turnaround, using tritone substitutions on the last three chords. (Ladybird) Chromatic and diationc mediants A median relationship in a chord progression is any chord that is a 3rd away from the present chord in either direction. There are two types of mediants; 1. A diatonic mediant: these stay within the key signature of the present chord. 2. A chromatic median: these have at least one note present that is from outside the key signature of the present chord. Cycles All marked in orange. Most are just moving around the cycle. There are some examples using a cycle of II V (Emily) and also an example of a cycle of dominants (Webb City). Secondary Dominant A secondary dominant is the dominant of the dominant. Can only be used in a chord progression that is moving to the tonic. Tritone Substitution A tritone substitution is the chord substitution of a chord with a dominant chord that has its root a tritone away from the original. Chord substitutions Some standards have different chord progressions; these changes are listed in green on the music. Also all modulations and chords are shown in green. .

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