#1
Could anybody tell me about this "pitch axis Theory" used by satch? Its really confusing me because how can you use notes from different keys and kepp it sounding like it is the same key, if you get what I mean.

If anyone has any information please explain from the start and very simply because i'm not that clever

Thanks people
#2
The pitch axis theory is basically a type of modulation (switching the key in the middle of the song)


In the pitch axis theory you keep the same root note, you just change the scale of it (so you go from E major into E minor for example) to create a different feel/sound/whatever.
It doesn't sound like the same key, you do notice that it does sound different, but it does keep the same tonal center.


For example "Always With You Always With Me" starts out in B major but then a bit after the 1 minute mark it changes into B minor
#3
thanks alot seljer that really helped but now perhaps you could tell me how to incorparate this into my playing or perhaps giving me an example of how to do it..

thankyoo
#4
Quote by Luke666
thanks alot seljer that really helped but now perhaps you could tell me how to incorparate this into my playing or perhaps giving me an example of how to do it..

thankyoo


Well for general rock soloing you if the song is in a major key you can switch between the pentatoinc major and the pentatonic minor of the same key without too much trouble. (this does not work for minor keys)


But otherwise you can use it when you're writing a song. Keep the root note but change the scale you're using to change the general feel of that section

heres Satch explaining it a bit: http://youtube.com/watch?v=WrAA-MPDJM0&search=satriani%20lesson
Last edited by seljer at Jun 21, 2006,
#5
yeah seljer thats the BEST explanation in the world, complete with an example
cool.
#9
Its not like Satch invented this technique, although I've never called it "Pitch axis theory" before (which is why I went in here - to learn something new... but it was just a modulation to the parallel minor or major.)


For example, the bridge to Elton John's Tiny Dancer is one of the other pop music examples I can think of.

C -> F -> C (main part) and then comes the bridge with -> Ab -> Bb -> Gm -> Cm -> Ab -> Bb (comes back after this, such a perfect way to come back, VII to viidiminished, only the bass note changes) -> B(dim) -> G/D.
He starts in C major (I -> IV -> I etc.) and then comes the bridge and just switches to Cm. Although you can't really tell that its changed to a minor key because of how he switched to a major chord in it (another good way to employ that technique IMO), it slowly gets back into C major by the Bb to Bdim. It's well done.


I love that song.


Anyways, Classical composers have been doing this for centuries. Satch learnt that by learning music theory.
Quote by casualty01
the RIAA can't shut us down, interpol can't shut us down. the U.S. gov't can't shut us down and CERTAINLY not YOU can shut us down.


BA in Music theory
MusicMan Bongo, SUB -> Orange Terror 1000 stack

Quote by waterproofpie
it's a UtBDan sandwich. Awwww yeah!
#10
Quote by UtBDan
Its not like Satch invented this technique, although I've never called it "Pitch axis theory" before (which is why I went in here - to learn something new... but it was just a modulation to the parallel minor or major.)


Its just a guitarist-friendly name/application of it
#11
Yep, i found that this technique works out really well if you want to put some "feel" behind some part, i like to look at it as moodswings of a song hehe, for example if you go from a major chord to a minor to go along with the lyrics, this can instantly change the whole feel of a song an can be realy beautifull if used correctly
#12
Quote by seljer
Its just a guitarist-friendly name/application of it



I'd never heard before and I clicked it like OOOH THEORY!! NEW THEORY!!! and came in and was like modulation. lol
Quote by casualty01
the RIAA can't shut us down, interpol can't shut us down. the U.S. gov't can't shut us down and CERTAINLY not YOU can shut us down.


BA in Music theory
MusicMan Bongo, SUB -> Orange Terror 1000 stack

Quote by waterproofpie
it's a UtBDan sandwich. Awwww yeah!
#13
from what i remember reading, i thought pitch axis wasnt just switching between major and minor with the same root. i thought it was having the same root to every chord, like you have 2 bars Dm then two bars D major, then 2 bars Dsus. then you would just pick scales with D as the root to play over it. let me see if i can find where i read that.

EDIT: third post in this thread has the lesson i remembered on pitch axis.
Last edited by jof1029 at Jun 21, 2006,
#14
In 15 Minutes by the Strokes, the main chord progression starts out in D Major, then goes into D Mixolydian (D - Bm - A - A7 -/- C - G - D - D)...so yeah, this sort of thing is found really in all sorts of places, with the most common being Major changing to Minor and so forth (obviously). Others by Satch...I think A Piece of Liquid is based around it (I dunno, I haven't looked into it) and the tapping part of Satch Boogie.