Pitch axis theory
Pitch axis theory refers to a way of thinking about
When composing using this concept, the pitch axis is simply a chosen
The term "pitch axis theory" has been criticized as misleading, as the above techniques do not represent a separate theory of music, and simply refer to the application of scales — according to standard music theory — over the common technique of a pedal point chord progression. However, the approach has also been praised as a useful compositional tool and perspective, which encourages experimentation with frequent key shifts and movements between parallel scales.[4]
Examples
Simple Example
As a simple example,[5] consider the following chord progression, which is non-diatonic (the chords are taken from multiple different keys), but all have root A.
| Amaj7(♯11) | A7 | F/A | A7 |
In order to create a melody or improvise over this progression, we could use the following sequence of modes - which are different scales, but again, all have A as their root.
| A Lydian | A Mixolydian | A Aeolian | A Mixolydian |
In Satriani's terminology, this is a composition with a "pitch axis" of A
Joe Satriani: "Not of This Earth"
This progression has a pitch axis of E.
Satriani chooses[citation needed] E Lydian, E Aeolian, E Lydian, and E Mixolydian as the modes to use for each chord.
The First chord, EΔ13, contains the 1st, 2nd, 6th, and 7th degrees of the E major scale. A common choice here might have been the Ionian mode (major scale), but Satriani prefers the Lydian scale with its ♯4 - which is a perfectly acceptable choice as the chord itself does not specify ♮4 or ♯4.
The Second chord is a Em7b6 with no 5th, making the E Aeolian mode (E-F♯-G-A-B-C-D-E) a possible choice. However in the Context of coming/modulating from E Lydian, another option would be keeping the #4/b5 Bb note, implying a much more fitting "Aeolian b5" or "Locrian nat2" scale (aka Bayati Shuri/Kartzigar) which is the 6th mode of the Melodic Minor Scale.
The Third chord is a EMaj7add6 with no 5th, where similarly, and given the Context, E Lydian mode could be used.
The Fourth chord is a E7sus4 without a 3rd and 5th, where E Mixolydian mode could be used. Or again, Lydian Dominant if one wanted to preserve the #4/b5 note.
Ultimately a number of different scales/modes could be used in the entirety of the progression,
and it would be up to the personal taste/interpretation of the performer or composer to decide what would be a better fit, or which type of harmony to apply.
Dream Theater: "Lie"
The transition to the guitar solo in
Ignoring the root, the scales used for each of these four chords would be B Aeolian (natural minor), B Dorian, C♯ Mixolydian, and E Aeolian, respectively. However, from the perspective of pitch axis theory, we consider all scales to have the B root - so we would say that the progression is B Aeolian, B Dorian, B Lydian, and B Phrygian.
Joe Satriani: "Satch Boogie"
A more complex example is the bridge of "Satch Boogie", which still remains entirely in the "pitch axis" of A.[6]
Artists who use pitch axis theory
These artists use pitch axis theory and shifting modes in their music.
- Joe Satriani[5]
- Dream Theater[citation needed]
- Marty Friedman[citation needed]
- Guthrie Govan[7]
- Planet X[citation needed]
- Yngwie Malmsteen[citation needed]
- Greg Howe[citation needed]
- Meshuggah
- Steve Lukather
- Nick Johnston
Related music theories
- Modal jazz
- George Russell's Lydian Chromatic Concept of Tonal Organization (1953)[8]
- Polymodal chromaticism
- Pedal point
References
- ^ Satriani, Joe. Strange Beautiful Music: A Musical Memoir.
- ISBN 0-634-02223-7
- ISBN 9781480368101.
- ^ "Pitch Axis Theory". GuitarStudioTV.
- ^ ISBN 3-927190-62-4.
- ISBN 0-89524-414-4.
- ^ Govan, Guthrie (22 May 2019). "Tapping in 16th-Note Triplets with Guthrie Govan". Guitar World. Retrieved 25 July 2019.
- ^ "The Lydian Chromatic Concept of Tonal Organization", George Russell's Lydian Chromatic Concept of Tonal Organization.