Talk:Pitch Axis Theory

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[edit] Relationshipt to Lydian Chromatic Concept

This a simpler way of looking at George Russell's Lydian Chromatic Concept of Tonal Organization, published in 1953. Nothing new, just, well, dumbed down to guitarists.

BTW, I am a guitarist.

• Actually, although perhaps a bit similar, this is not a simpler way of looking at the Lydian Chromatic Concept.
  
  For example, Dude (a rock guitarist who uses PAT as much as he can), and Cat (a jazz guitarist who approaches everything via LCC) get together to jam:
  
  Dude creates a chord progression using PAT, say Emaj7, Em7, E7, Emaj7, and thinks E Lydian (or Ionian), E Dorian (or any other minor 7 scale/mode), E Mixolydian, E Lydian as he solos over the changes.
  
  Cat on the other hand is thinking E Lydian, G Lydian, D Lydian, E Lydian if he wants to play "inside" and "vertically" (roughly meaning "with the chord changes"), he may also decide to go "outside" a bit and think E Lydian Augmented, G Lydian Diminished, D Lydian b7, E Lydian (back inside again), as an example. He finds his LCC tonic for the chord he's on, then selects his scale color. It gets a lot more involved, but that's the gist of it.
  
  ... Oh, and I am also a guitarist, FWIW
  
  *--Tedclaymore (talk) 22:16, 28 May 2008 (UTC)

[edit] Chart is wrong

The chord progression for "Lie" shows a B diminished not a B minor. Didn't check any of the other chords, but that one at least is definately wrong.

Pretty correct. That image must be taken care of.59.93.215.168 (talk) 17:14, 25 November 2007 (UTC)

[edit] Relationship to Modal Jazz

-Isn't this just basic music theory? Miles Davis used modes all the time in his compositions. See 'modal jazz'

• This is similar to Modal Jazz, but not exactly the same thing. In most modal jazz tunes, the composition is based on one mode (say Dorian). Usually a single tonic (say D) is used for an extended period as well (D Dorian for 16 bars...) but there may be some tonic relief as the tune switches to a different tonic (say Eb Dorian for 8 bars). Pitch access theory doesn't change the tonic. It changes the modes/scales/chords built up from the tonic. To my ears, the effect is rather similar (though not identical), but the approach to composing and improvising is a bit different.
  
  --Tedclaymore (talk)