# Pitch axis theory > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Pitch_axis_theory > Markdown URL: https://mediated.wiki/source/Pitch_axis_theory.md > Source: https://en.wikipedia.org/wiki/Pitch_axis_theory > Source revision: 1347758350 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) {{Short description|Approach in music theory}} {{about||inversion about a central pitch of a melody|Inversion (music)#Pitch axis|the Axis System in the music of [Béla Bartók](/source/B%C3%A9la_Bart%C3%B3k) | Axis system|the term "pitch axes" as used by [Joseph Schillinger](/source/Joseph_Schillinger) | Schillinger System}} '''Pitch axis theory''' refers to a way of thinking about [chord progressions](/source/chord_progressions) and [modes](/source/mode_(music)), that was heavily used and popularized (though not invented) by the [guitarist](/source/guitarist) [Joe Satriani](/source/Joe_Satriani).{{cite book|first=Joe|last=Satriani|title=Strange Beautiful Music: A Musical Memoir}} When composing using this concept, the '''pitch axis''' is simply a chosen [note](/source/note_(music)) (a specific pitch), which is thought of as the [tonic](/source/tonic_(music)) for a sequence of [chords](/source/chord_(music)), which must all have this pitch as their [root note](/source/root_chord). However, the other notes in each chord may be drawn from completely different [keys](/source/key_(music)). A [mode](/source/mode_(music)) (or any other [scale](/source/scale_(music))) is chosen that fits with each chord, and also has the "pitch axis" as its root note. This sequence of scales is then used for creating a melody or improvising a [solo](/source/solo_(music)).Paul Del Nero and Mitch Seidman (2006). ''Playing the Changes: Guitar: A Linear Approach to Improvising'', p.2. {{ISBN|0-634-02223-7}}Rotfeld, Arthur and Satriani, Joe (2013). ''Joe Satriani - Legendary Licks'', "Always With Me" notes. Hal Leonard. {{ISBN|9781480368101}}. The term "pitch axis theory" has been criticized as misleading, as the above techniques do not represent a separate [theory of music](/source/music_theory), and simply refer to the application of scales — according to standard music theory — over the common technique of a [pedal point](/source/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](/source/parallel_key) scales.{{cite web | url=http://guitarstudio.tv/tips/pitch_axis_theory.htm|title=Pitch Axis Theory|publisher=GuitarStudioTV}} ==Examples== === Simple Example === As a simple example,Fischer, Peter (2000). ''Rock Guitar Secrets'', p.68-69. {{ISBN|3-927190-62-4}}. consider the following chord progression, which is [non-diatonic](/source/Diatonic_and_chromatic) (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. [[File:PitchAxis-Earth.jpg|center|frame|class=skin-invert-image|The chords from [Joe Satriani](/source/Joe_Satriani)'s "Not of This Earth" {{audio|PitchAxis-Earth.mid|Play}}.]] Satriani chooses{{Citation needed|date=June 2021}} E Lydian, E Aeolian, E Lydian, and E Mixolydian as the modes to use for each chord. The First chord, EΔ13, contains the 1st, 3rd, 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"=== center|frame|class=skin-invert-image|The chord progression from "Lie" by Dream Theater. The transition to the guitar solo in [Dream Theater](/source/Dream_Theater)'s "[Lie](/source/Lie_(Dream_Theater_single))" is built on Pitch Axis Theory.{{Citation needed|date=December 2011}} The bass and guitar play the root (B) while the keyboardist implies the chords in the progression: B5, Bm7, Bm6, G/B, A/B. 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](/source/Satch_Boogie)", which still remains entirely in the "pitch axis" of '''A'''.Satriani, Joe (1988). ''Surfing with the Alien'', p.6. {{ISBN|0-89524-414-4}}. thumb|center|550px|class=skin-invert-image|"Satch Boogie" bridge progression {{audio|'Satch Boogie' pitch axis progression.mid|Play}}. ==Artists who use pitch axis theory== These artists use pitch axis theory and shifting modes in their music. * [Joe Satriani](/source/Joe_Satriani) * [Dream Theater](/source/Dream_Theater){{citation needed|date=November 2012}} * [Marty Friedman](/source/Marty_Friedman_(guitarist)){{citation needed|date=November 2012}} * [Guthrie Govan](/source/Guthrie_Govan){{cite web |last1=Govan |first1=Guthrie |title=Tapping in 16th-Note Triplets with Guthrie Govan |url=https://www.guitarworld.com/lessons/professor-shred-guthrie-govan-tapping-16th-note-triplets |website=Guitar World |date=22 May 2019 |access-date=25 July 2019}} * [Planet X](/source/Planet_X_(band)){{citation needed|date=November 2012}} * [Yngwie Malmsteen](/source/Yngwie_Malmsteen){{citation needed|date=November 2012}} * [Greg Howe](/source/Greg_Howe){{citation needed|date=November 2012}} * [Meshuggah](/source/Meshuggah) * [Steve Lukather](/source/Steve_Lukather) * [Nick Johnston](/source/Nick_Johnston_(guitarist)) ==Related music theories== * [Modal jazz](/source/Modal_jazz) * George Russell's [Lydian Chromatic Concept of Tonal Organization](/source/Lydian_Chromatic_Concept_of_Tonal_Organization) (1953)[http://www.lydianchromaticconcept.com/lccoto.html "The Lydian Chromatic Concept of Tonal Organization"], ''George Russell's Lydian Chromatic Concept of Tonal Organization''. * [Polymodal chromaticism](/source/Polymodal_chromaticism) * [Pedal point](/source/Pedal_point) ==References== {{Reflist}} Category:Chord progressions Category:Chromaticism --- Adapted from the Wikipedia article [Pitch axis theory](https://en.wikipedia.org/wiki/Pitch_axis_theory) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Pitch_axis_theory?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.