Advanced Pedal Point in A

Advanced Pedal Point in A

In this blog, we are taking the ideas of this lesson blog Major Minor Pedal Point in A a huge step further to the next level.
When you click on this url, it will lead you to a free lesson with more urls to pages you want to read.

The more you grasp the lessons from these various blogs, the easier following new material will be.
This is a bit advanced, folks!

If you read the above blog and the blogs it links to, then you know what a pedal point is, and what some of the cool things are that you can do with a pedal point.
Taking this all a step further, you could actually play any chord of any A scale against an A bass note to create even more different sounds and textures.

This is what Joe Satriani calls his “Pitch Axis Method”, which is really nothing more than a pedal point combining chords from a large selection of parallel scales over the tonic (the first note of all these paralel scales) as a bass note.

Using the key of A as an example.

The note A can be in 7 major scales

  1. A major
  2. Bb major
  3. C major
  4. D major
  5. E major
  6. F major
  7. G major

By doing this, you’ve got every A mode covered.

  1. A Ionian
  2. A Locrian (the 7th mode of Bb major)
  3. A Aeolian (the 6th mode of C major)
  4. A Mixolydian (the 5th mode of D major)
  5. A Lydian (the 4th mode of E major)
  6. A Phrygian (the 3rd mode of F major)
  7. A Dorian (the 2nd mode of G major)

All the chords in these 7 major scales are:

  1. A Bm C#m D E F#m G#dim
  2. Bb Cm Dm Eb F Gm Adim
  3. C Dm Em F G Am Bdim
  4. D Em F#m G A Bm C#dim
  5. E F#m G#m A B C#m D#dim
  6. F Gm Am Bb C Dm Edim
  7. G Am Bm C D Em F#dim

Putting all these chord options in alphabetical order

  1. A, Am, Adim
  2. Bb
  3. B, Bm, Bim
  4. C, Cm
  5. C#m, C#dim
  6. D, Dm
  7. Eb/D#, D#dim
  8. E, Em, Edim
  9. F
  10. F#m, F#dim
  11. G, Gm
  12. G#m, G#dim

This gives you a ton of really cool, interesting textures you can experiment with.
Create really cool chord progression, combining any of these chords against a repetitive A bass.
The more you play around with this, the more really cool sounding chord progressions you will discover.


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I believe everything can always be improved. I’d gladly implement your suggestions and ideas in this blog or the next.

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Have fun! 🙂

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