Pitch axis theory

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Pitch axis theory is a musical technique

used in constructing chord progressions.
The tonic is used as the bass note, and
melodic scales are chosen according to
the chords that lie beneath them. "A variety
of scales or modes are used, all built
around the same tonic pitch."[1]
The pitch axis is the pitch common and
most important to the tonic of the initial
key and all chords in a chord
progression.[2]

Concept
Each of the seven modern modes is
obtainable from any of the others by a
sequence of diatonic rotations; by such a
sequence, for example, C Ionian (C-D-E-F-
G-A-B) becomes D Dorian (D-E-F-G-A-B-C),
which becomes E Phrygian (E-F-G-A-B-C-
D), and so on, until the original C Ionian
mode is obtained. Therefore, each of the
seven modes of any of the twelve major
keys is a mode of the other six 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)

Ionian mode Maj6, Maj7, add9, sus2, sus4, maj9

Dorian mode Min6, Min7, Minor, sus2, sus4

Phrygian mode Min7, Min7♭9, sus4

Phrygian Dominant mode 7, 7♭9

Lydian mode Maj7, Maj7♯11, sus2, Maj9

Mixolydian mode Dom7, Dom9, Dom11, add9, sus2, sus4

Aeolian mode Min7, Min9, Min11

Locrian mode Min7♭5, Min7♭5♭9

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
For example:[3]

lydian
ABC♯D♯EF♯G♯
|
|
aeolian -— A -- locrian
ABCDEFG | AB♭CDE♭FG
|
 mixolydian
ABC♯DEF♯G

Thus the non-diatonic chord progression

constructed from chords diatonic to each
mode:[3]

| A5#11 | A7sus4 |
Fmaj7/A | A7sus4 |
|A-lydian|A-mixolydian|A-
aeolian|A-mixolydian|

Joe Satriani: "Satch Boogie"

"Satch Boogie" bridge progression Play (help·info).

"No better demonstration of the Pitch Axis

device exists than the famous tap-on
bridge of 'Satch Boogie'", originally played
only on the fifth string.[4]

Joe Satriani: "Not of This Earth"

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

Play (help·info)
 Play (help·info).

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 E minor 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
thought 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
Phrygian or E Aeolian 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.

Dream Theater: "Lie"

The chord progression from "Lie" by Dream Theater.

The transition to the guitar solo in Dream

Theater's "Lie" is built on Pitch Axis
Theory. The bass and guitar play the root
(B) while the keyboardist imply the chords
in the progression: B5, B minor 7, B minor
6, G root B and A root B.

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.

Joe Satriani[3]
Dream Theater
Steve Vai
Marty Friedman
Guthrie Govan
Planet X
Yngwie Malmsteen
Greg Howe
Animals as Leaders
Steve Lukather
Nick Johnston
Related music theories
Modal jazz
George Russell's Lydian Chromatic
Concept of Tonal Organization (1953)[5]
Polymodal chromaticism
Pedal point

References
1. Rotfeld, Arthur and Satriani, Joe (2013).
Joe Satriani - Legendary Licks, "Always
With Me" notes. Hal Leonard.
ISBN 9781480368101.
2. Paul Del Nero and Mitch Seidman
(2006). Playing the Changes: Guitar: A
Linear Approach to Improvising, p.2.
ISBN 0-634-02223-7.
3. Fischer, Peter (2000). Rock Guitar
Secrets, p.68-69. ISBN 3-927190-62-4.
4. Satriani, Joe (1988). Surfing with the
Alien, p.6. ISBN 0-89524-414-4.
5. "The Lydian Chromatic Concept of Tonal
Organization" , George Russell's Lydian
Chromatic Concept of Tonal Organization.

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