For those unaware of Pitch Axis Theory, please see my previous post to get yourself up to speed here: https://www.facebook.com/groups/215857764565028/search/?q=pitch%20axis
In this post I am focusing on probably the most common type of change using pitch axis theory, the parallel minor and its modes. When playing in G Major, the parallel minor is G minor, as opposed to the relative minor of E minor, and the chords and modes are those from Bb Major, as G Aeolian (natural minor) is mode VI of Bb Major, and not a scale in its own right. Here it is below, compared to its parallel Major of G, showing both its modes and chords on each degree of the scale:
G Major: G Ionian A Dorian B Phrygian C Lydian
D Mixolydian E Aeolian F# Locrian
Chords: G Maj7 A min7 B min7 C Maj7
D7 E min7 F#min7b5
G minor: G Aeolian A Locrian Bb Ionian C Dorian
D Phrygian Eb Lydian F Mixolydian
Chords: G min7 A min7b5 Bb Maj7 C min7
D min7 Eb Maj7 F7
Now, the simplest way of using pitch axis theory is to keep a static bass and just switch scales, G Major (or one of its modes) to G minor (or one of its modes). It doesn’t have to be the Major scale (Ionian mode) to the natural minor scale (Aeolian mode) but instead could be:
1) C Lydian (G Major mode IV) – C Dorian (Bb Major mode II)
2) D Mixolydian (G Major mode V) – D Phrygian (Bb Major mode III)
3) E Aeolian (G Major mode VI) – Eb Lydian (Bb Major mode IV)
And so on. Any mode from either scale is usable, but things start to sound much more advanced and musically adept when the concept is taken one step further.
Look again at the chords from G Major and Bb Major above. A chord progression can be built that uses both scales constantly, one following the other, to create a sound that is rooted in two keys simultaneously. For example:
G Major 7 – Bb Major 7 – E minor 7 – C minor 7 – B minor 7 –
A minor 7 – A minor 7b5
In the example above, I have stuck strictly to alternating between the two keys along the pitch axis, starting with G Major and then its parallel minor of G minor (Bb Major). To play over this progression simply requires the player to change between the two scales with every bar. It doesn’t have to be as formal as this though, this is just an example. One key could be the dominant sound and the other referred to less frequently, such as:
A minor 7 – E minor 7 – Eb Major 7 – B minor 7 – Bb Major 7 – A minor 7 – D7
In this example, the pitch axis is still between G Major and G minor (Bb Major) but the scale of G Major is the predominant one, with 5 out of 7 chords originating from it. Try it, parallel minor chords in your progressions/riffs/solos and see what it sounds like. I think it is great, but then I try to avoid playing in one key only as it is too repetitive and predictable to my ear. It is also fun to solo over when you know what you need to do. I teach students to stay in the position you are in and simply visualise the position of the new scale without moving. Say, A Dorian to A Locrian and then start expanding out to G Ionian and B Phrygian when in G Major and G Aeolian and Bb Ionian when in G minor. The scales of Harmonic minor and Melodic will be introduced next, with some pretty cool sounding modes taking the stage, and then the tritone substitution will be explained in regards to pitch axis theory.
Thanks for reading.
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