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Pitch Axis Theory

Pitch axis theory is a musical technique used in constructing chord progressions where melodic scales are chosen according to the underlying chords. The document provides details on common modes and their associated chords, and examples of pitch axis theory in songs by Joe Satriani and Dream Theater where scales transition between chords while maintaining a tonal center.

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262 views3 pages

Pitch Axis Theory

Pitch axis theory is a musical technique used in constructing chord progressions where melodic scales are chosen according to the underlying chords. The document provides details on common modes and their associated chords, and examples of pitch axis theory in songs by Joe Satriani and Dream Theater where scales transition between chords while maintaining a tonal center.

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Firstly Lastly
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Pitch Axis Theory

From Wikipedia, the free encyclopedia

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Pitch axis theory is a musical technique used in constructing chord progressions. The
tonic, or root, is used as the base note, and melodic scales are chosen according to the
chords that lie beneath them.

Contents
[hide]
 1 Concept
 2 Examples
o 2.1 Example 1: Joe Satriani - Not of This Earth
o 2.2 Example 2: Dream Theater - Lie
 3 Artists who use pitch axis theory

 4 References

Concept
The seven modern modes are all connected to each other by diatonic shifts; that is, C
Ionian (C-D-E-F-G-A-B-C) is also D Dorian (D-E-F-G-A-B-C-D), E Phrygian (E-F-G-
A-B-C-D-E) and so on, until you return to the original C Ionian Mode. Therefore, each of
the seven modes of any of the twelve major keys is also a mode for another six of the
modes in that particular key.

Pitch axis theory suggests that for each mode, there is a chord that accompanies it. When
that chord occurs, the corresponding mode should be used for the melody or for soloing.

The more common modes, along with their chords:

Mode Chord(s)
Maj6, Maj7,
Ionian mode
Maj11
Dorian mode Min6, Min7
Phrygian mode Min7, Min7b9
Phrygian
7, 7b9
Dominant mode
Lydian mode Maj7, Maj7#11
Mixolydian mode Dom7, Dom9,
Dom11
Min7, Min9,
Aeolian mode
Min11
Locrian mode Dim7, Dim7b9

This is the first part of pitch axis theory. The second step is implementing these modes as
chords built on a common root. This is best shown with an example.

Examples
Example 1: Joe Satriani - Not of This Earth

The chords from Joe Satriani's "Not of This Earth."

This song is fully based on the pitch axis of E. The chords E major 13, E minor 7 sharp 5,
E major 13, and E 7 suspended 4 imply a transition between E Lydian, E Aeolian, E
Lydian, and E Mixolydian. This pattern continues throughout the song, keeping a strong
feel of tonality while changing through the modes in a rather disorienting way.

The chord E minor 7 sharp 5 is not a perfect match for E Aeolian. When spelling out the
mode to use over this chord, instead of thinking of the chord as E minor 7 sharp 5 (E-F#-
G-A-B#-C-D-E), think of it as E minor 7 add 6 (E-F#-G-A-B-C-D-E). Otherwise, the E
diminished scale might be a good choice (E-F#-G-A-A#-C-C#-D#-E)

It is also important to note than in conventional music theory, there is no such thing as an
Eminor 7 sharp 5 chord. This chord (spelled E, G, C and D) is really a first inversion C
major chord with an added 9th (the D), which could also be though of as a C major chord
with an E in the bass, or C/E. From here you could choose to use either a C Ionian or
Lydian scale, which would correspond to an E Phyrgian or E Lydian respectively. Whilst
this might seem to be making the chord more complicated, it also helps to explain the
relative lack of tension and 'major' sound of the chord.

Example 2: Dream Theater - Lie


The chord progression from "Lie" by Dream Theater.

The break in Dream Theater's "Lie" is built on Pitch Axis Theory. The bassist plays B
while the guitarist and keyboardist imply the chords in the progression: B minor, B minor
7, C# dominant 7, and E minor.

The scales used for each of these four chords are B Aeolian(natural minor), B Dorian, C#
Mixolydian, and E Aeolian, respectively. However, as these are all diatonic modes, they
can all be thought of as being based on the root of B. If the scales are shifted to start on
B, then the progression appears as B Aeolian, B Dorian, B Lydian, and B Phrygian.

Artists who use pitch axis theory


These artists use pitch axis theory and shifting modes in their music.

 Dream Theater
 Joe Satriani
 Steve Vai
 Marty Friedman
 Michael Angelo Batio
 Guthrie Govan

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