Talk:Pitch axis theory

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)

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)

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)

• • Then should something be said in the main article? --Rfsmit (talk) 21:26, 25 September 2008 (UTC)

Need sources

What the hell is "pitch axis theory"? If you learnt this from a credible book/website, then tell me what book/website you learnt it from. If you learnt it from banter on an internet forum, then you know as much as I do, which is *not* enough for Wikipedia. This article reads like a piece of pseudoscience, and I'm partially convinced it is just made up internet hearsay. Please prove me wrong, because it sounds like a very interesting idea (yes, I'm hoping this is real, but I'm calling "bullshit" just because we won't know anything until somebody backs it up).

A Google search on "pitch axis theory" gives me i) this Wikipedia page, ii) sites quoting this page, iii) a bunch of infomercials, and iv) the occasional very spurious quote with the use of the term by one of three guitar players (I'm sure you can guess who they are).

So come on, if you are an advocate of this theory, tell me where you learnt it from, and be honest. If there can be found no sources to back up the claims of this page, it should be removed. It has been tagged as unsourced for two years already. (217.155.61.70 (talk) 01:14, 12 February 2009 (UTC))