33 lines
1.9 KiB
Plaintext
33 lines
1.9 KiB
Plaintext
ARTIST: Joe Satriani
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Pitch axis theory connects scales or modes via an unchanging bass note.
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Used by classical composers including Wagner and Stravinsky as well as
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modern guitarists Joe Satriani and Steve Vai, the technique creates
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dramatic harmonic color changes while maintaining a stable root. The
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effect is created by keeping the bass note constant while the mode
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above it changes, producing the sensation of moving through distant
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keys while remaining anchored to a single pitch center.
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The first track on Satriani's first album Not of This Earth demonstrates
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pitch axis theory with a pedal note of E and four bars with a mode change
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on each bar: E Lydian — E Aeolian — E Lydian — E Mixolydian. Expressed
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as parent keys this is B Major — G Major — B Major — A Major — a large
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leap from B Major with five sharps to G Major with one sharp and back,
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then two steps around the circle of fifths to A Major with three sharps.
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The modal sequence is Lydian — Aeolian — Lydian — Mixolydian.
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Steve Vai uses pitch axis theory in The Riddle with the modal sequence
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E Lydian — E Lydian augmented — E Mixolydian — E Lydian. The parent
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keys are B Major — B Melodic Minor — A Major — B Major.
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Pitch axis theory in practice produces the following documented sequences
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over a static bass note. Satriani on Not of This Earth over E:
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Lydian — Aeolian — Lydian — Mixolydian. Vai on The Riddle over E:
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Lydian — Lydian augmented — Mixolydian — Lydian. Bach over a dominant
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pedal: Mixolydian — Phrygian Major — Harmonic Major — Dominant sharp 2
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— Double Harmonic. Over a constant A bass using the Modal Method:
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A Dorian — A Melodic — A Dorian sharp 4 — A Neapolitan Major —
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A Phrygian sharp 4. The technique works because modes sharing a common
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root create tension through harmonic contrast while the static bass
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provides continuity and resolution.
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