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438:
38:
639:, when the jealous, put-upon soldier Wozzeck murders his unfaithful wife, Marie. Douglas Jarman (1989, p38) describes the powerful dramatic effect of this episode: "Marie and Wozzeck are walking through the wood. Anxious, Marie tries to hurry on but Wozzeck detains her. A disjointed, sinister conversation follows until, as the moon rises, blood-red, Wozzeck draws a knife. A long
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286:"... to reestablish the tonality of the composition after it has become clouded by the numerous modulations and digressions along the way within the middle entries of the subject and answer and in the connecting episodes". Fugues often conclude with figures written over a bass pedal point:
421:
502:. Pedal points for orchestral music are often performed by the double basses with the bow, which creates a sustained, organ-like bass tone underneath the changing harmonies in the upper voices. The closing section of the third movement of Johannes Brahms's
422:
843:: " to sustain a dominant pedal at length as this theme does gives an impression of a prolonged avoidance of resolution. Indeed, given the enormous length of time that elapses during Cooper’s absence, this is an entirely appropriate sentiment.".
559:
115:
383:
401:
According to Eugene
Narmour (1987, p. 101) "There is no instrument on which a pedal point sounds better than the piano (with its ready-made damper mechanism), and, safe to say, no composer more fond of harmonic pedals than
367:
With the development of the piano, composers began exploring the potential of a pedal-point in creating mood and atmosphere. An example is the inverted pedal that pervades the right hand part of the piano accompaniment in
558:
45:
850:
groups, the double bass player or
Hammond organist may also introduce a pedal point (usually on the tonic or the dominant) in a tune that does not explicitly request a pedal point, to add tension and interest.
165:
during the intervening dissonant harmonies, and then a chord tone again when the harmony resolves. A dissonant pedal point may go against all harmonies present during its duration, being almost more like an
325:
384:
328:
290:
264:
604:
185:. The pedal keyboard on an organ is played by the feet; as such, the organist can hold down a pedal point for lengthy periods while both hands perform higher-register music on the manual keyboards.
998:
Gerald Drebes: "Schütz, Monteverdi und die „Vollkommenheit der Musik“ – „Es steh Gott auf“ aus den „Symphoniae sacrae“ II (1647)". In: "Schütz-Jahrbuch", Jg. 14, 1992, p. 25–55, h. 37–40, online:
293:
122:
576:
Robert
Donington (1963, p. 35) says: "The Ring opens quietly, but with an effect which in the context of harmonized music is apparently unique. For a very long passage there is not only no
356:; this is particularly common with inverted pedals. Another method of producing a pedal point on the harpsichord is to repeat the pedal point note (or its octave) on every beat. The rarely seen
823:
playing a low pedal B-flat to create a sense of impending doom", as one character is arranging for another character's murder. Other notable examples from similar genres are the music for the
467:
in the minor key middle section, where it moves from the bass to the top part. There are other examples of piano music where a single note pervades almost the entire piece: a persistent B
643:
begins as the note B natural, which has been present as a subdued pedal point throughout the scene, is now taken up by the kettledrums. Wozzeck plunges the knife into Marie’s throat."
1265:
265:
605:
259:'s "Fantasia upon One Note" for a consort of viols, a tenor viol sustains a C throughout, while the other viols weave increasingly elaborate counter-melodies around it:
523:, particularly this movement, which "was greeted with many expressions of disapproval; the continual pedal point—intensified by the too vigorous work of the drummer".
774:" being examples of this. "By the late 1970s and early 1980s, pedal-point grooves such as this had become a well-worn cliché of progressive rock as they had of funk (
420:
423:
590:
movement on the complete triad, calm but swelling, an embryonic motive ... But still the chord does not change ... A sense of timelessness sets in."
236:
There are numerous examples of pedal points in classical music. Pedal points often appear in early baroque music "alla battaglia", notably prolonged in
1192:
871:
557:
1258:
508:, "Herr, lehre doch mich" (bars 173–208), features a sustained timpani roll on D natural for over two minutes until resolving in the final chord:
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352:, which has only a limited sustain capability. Often the pedal note is simply repeated at intervals. A pedal tone can also be realized with a
560:
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1139:
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364:, makes it easier to perform repeated bass notes on the harpsichord, since both hands are still free to play on the upper manual keyboards.
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features an inverted pedal: the sustained tremolos in the upper strings offset the melodic and rhythmic activity in the 'cellos and basses:
385:
213:
is a pedal that is similar to the inverted pedal, except that it is played in the middle register between the bass and the upper voices.
498:
The term "pedal point" is also used to describe a bass note that is held for a long period in orchestral music, as in the symphonies of
1251:
263:
1114:
819:
as techniques to achieve tension", resulting in a dissonant, dramatic effect. In one scene, "The Phone Booth", Herrmann "uses the
603:
708:
1041:
766:", in which the "bass remains static on the tonic as chords move above the bass at varying speeds", with the Genesis songs "
412:, Op. 28, No. 15, (the "Raindrop Prelude") which, like the Purcell, features one repeated note throughout. The piece is in
1024:
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in particular makes abundant use a muted low E string (or lower, if other tunings are used) as a pedal point.
952:
297:
J. S. Bach, concluding bars of the Fugue in C major from The Well-Tempered
Clavier, Book I, BWV 846
103:. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains (or
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202:
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for its ability to sustain a note indefinitely and the tendency for such notes to be played on an organ's
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332:
Pedal tone in Bach's
Prelude no. 6 in D Minor, BWV 851, from The Well-Tempered Clavier, Book I, bars 1–2
393:
228:, unlike a drone, or a pedal point may simply be a shorter drone, a drone being a longer pedal point.
828:
336:
1340:
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344:, Book I, bars 1–2. All pedal tone notes are consonant except for the last three of the first bar.
274:
137:". Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a
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807:
751:, some jazz musicians play a V pedal note under all three chords, or under the first two chords.
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782:), and were already making frequent appearances in more commercial styles such as stadium rock (
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major builds up: first the tonic sounds in the abysmal depths; next a fifth is added; then an
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player to play a sustained pedal. Jazz musicians also use pedal points to add tension to the
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874:" (intro: top two guitar strings, B & E, against B, A, G, F, and E major chords). Also,
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321:, signal important structural points in the composition, and for their dramatic effect.
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included numerous inverted pedals in his works, particularly in the solo parts of his
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Narmour, E. (1987) "Melodic structuring of harmonic dissonance" in Samson, J. (ed.)
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Film composers use pedal points to add tension to thrillers and horror films. In the
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1193:"Oscar Nominees 2015, Best Original Score (Part 5 of 6): Hans Zimmer's Interstellar"
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161:) tones. The pedal tone is considered a chord tone in the original harmony, then a
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416:, with its serene outer "A" sections contrasting the brooding middle "B" section:
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Ernest Newman (1947, p. iii) wrote of the "mixed reception" given to the
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Pedal points "have a strong tonal effect, 'pulling' the harmony back to its
76:
1134:. United States of America: The University of Michigan Press. p. 118.
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differs from a pedal point in degree or quality. A pedal point may be a
41:
Pedal tone example. The repeated d in the first bar is the pedal point.
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is a pedal that is not in the bass (and often is the highest part.)
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305:
J. S. Bach, concluding bars of the Fugue in C major from
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541:("The Ring of the Nibelung") feature pedal notes. The prelude to
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Brahms, Requiem, 3rd movement, beginning of the closing section
1070:, reprinted in the 1999 edition. London, Novello and Co. Ltd.
19:"Double pedal" redirects here. For the double drum pedal, see
1001:"Gerald Drebes - 2 Aufsätze online: Monteverdi und H. Schütz"
340:
Pedal tone in Bach's
Prelude no. 6 in D Minor, BWV 851, from
1107:
Jazzology: The
Encyclopedia of Jazz Theory for All Musicians
111:", not the non-chord tone, "resolves back to a consonance".
1158:"Composition And Experimentation In British Rock 1967–1976"
754:
Rock guitarists have used pedal points in their solos. The
925:
The
Structure & Analysis of the Modern Improvised Line
866:(chorus: octave E's against A, G, and F major chords) and
170:
than a nonchord tone, or pedal points may serve as atonal
1066:
Newman, E. (1947) preface to the vocal score of Brahms
141:
other than the bass, it is usually referred to as an
1132:
Sounding Out Pop: Analytical Essays in
Popular Music
457:
that pervades the outer section becomes, through an
30:. For the "pedal" concept in brass instruments, see
1421:
1370:
831:by David Arnold and Michael Price, and one of the
107:) through another chord as a dissonance until the
26:For "pedal point" in the mathematical sense, see
1218:What to Listen for in Rock: A Stylistic Analysis
572:Wagner, opening of the Prelude to Das Rheingold.
564:Wagner, opening of the Prelude to Das Rheingold
618:Wagner, opening of the Prelude to Die Walkure.
1259:
610:Wagner, opening of the Prelude to Die Walkure
348:Pedal points are somewhat problematic on the
282:Pedal points are often found near the end of
278:Purcell Fantazia upon One Note, opening bars.
197:is two pedal tones played simultaneously. An
8:
1266:
1252:
1244:
1175:A Case Study of the Bernard Herrmann Style
149:). Pedal points are usually on either the
91:", placing it in the categories alongside
87:. A pedal point sometimes functions as a "
79:, during which at least one foreign (i.e.
973:
971:
969:
655:tunes which include pedal points include
531:The openings of the first two operas of
1153:
1151:
1130:Spicer, Mark S.; Rudolph, John (2010).
981:, Vol. I, p. 99. Seventh Edition.
916:
397:Schubert, Erlkönig, piano introduction
389:Schubert, Erlkönig, piano introduction
1125:
1123:
943:
941:
7:
1191:Richards, Mark (February 18, 2015).
635:makes subtle use of a pedal tone in
580:but no change of chord. A chord of E
553:pedal tone in the bass for 162 bars:
451:In this prelude, the repeated bass A
313:Pedal points are also used in other
593:By contrast, the stormy prelude to
317:compositions to strengthen a final
406:." An example is the Prelude in D
83:) harmony is sounded in the other
14:
447:Major, Op. 28, No. 15, bars 24–31
433:Major, Op. 28, No. 15, bars 24–31
1361:
963:, Southern Methodist University.
1081:Wagner's "Ring" and its Symbols
1237:Stephenson (2002), p. 81.
1096:. Cambridge University Press.
270:Purcell Fantazia upon One Note
1:
1057:. Cambridge University Press.
979:Music: In Theory and Practice
723:. The latter, from the album
647:Use in jazz and popular music
68:, pedal tone, or pedal) is a
977:Benward & Saker (2003).
1029:Foundation Studies in Fugue
1003:(in German). Archived from
1504:
1040:Smith, Timothy A. (1996).
815:"uses the pedal point and
762:often used a "pedal-point
747:sections of a tune. In an
25:
18:
1462:List of musical intervals
1457:
1359:
1281:
1275:Consonance and dissonance
947:Frank, Robert J. (2000).
792:Frankie Goes to Hollywood
681:"On Green Dolphin Street"
342:The Well-Tempered Clavier
307:The Well-Tempered Clavier
1216:Stephenson, Ken (2002).
1105:Rawlins, Robert (2005).
864:"You Keep Me Hangin' On"
177:The term comes from the
858:Other examples include
846:In small combo jazz or
735:pedal" to instruct the
713:Half Life of Absolution
538:Der Ring des Nibelungen
360:, a harpsichord with a
872:The Eagle And The Hawk
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232:Use in classical music
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1079:Donington, R. (1963)
1068:Ein Deutsches Requiem
729:, has the notation "E
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505:Ein Deutsches Requiem
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224:and thus required to
118:Pedal point example.
117:
40:
1042:"Anatomy of a Fugue"
923:Zinn, David (1981).
441:Chopin, Prelude in D
427:Chopin, Prelude in D
250:Altri canti di Marte
143:inverted pedal point
1162:Philomusica on-line
157:(fifth note of the
75:, typically in the
1094:Alban Berg Wozzeck
955:2007-07-03 at the
808:North by Northwest
790:') and synth-pop (
749:ii-V-I progression
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492:Gaspard de la Nuit
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246:Claudio Monteverdi
131:
54:
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1226:978-0-300-09239-4
1141:978-0-472-11505-1
1092:Jarman, D (1989)
987:978-0-07-294262-0
961:Theory on the Web
949:"Non-Chord Tones"
933:978-0-935016-03-1
827:of the TV series
772:Apocalypse in 9/8
607:
561:
477:'s piano prelude
473:features in both
459:enharmonic change
424:
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358:pedal harpsichord
329:
309:, Book I, BWV 846
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1197:Film Music Notes
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1083:. London, Faber.
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242:Es steh Gott auf
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21:Double bass drum
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697:"Dolphin Dance"
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1177:", p. 2,
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1055:Chopin Studies
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805:thriller film
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657:Duke Ellington
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637:Act 3, scene 2
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362:pedal keyboard
244:(SWV 356) and
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211:internal pedal
199:inverted pedal
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183:pedal keyboard
89:non-chord tone
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780:"Sex Machine"
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257:Henry Purcell
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222:nonchord tone
219:
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172:pitch centers
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163:nonchord tone
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101:passing tones
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1488:Bass (sound)
1434:Major second
1429:Minor second
1335:
1316:Musical note
1233:
1217:
1212:
1200:. Retrieved
1196:
1186:
1179:Hitchcock.TV
1178:
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1080:
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1009:. Retrieved
1005:the original
994:
978:
960:
924:
919:
880:Free Falling
860:The Supremes
857:
853:Thrash metal
845:
837:Interstellar
806:
800:
753:
724:
700:
661:"Satin Doll"
651:Examples of
650:
630:
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536:
530:
527:Use in opera
520:
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97:retardations
65:
61:
57:
56:In music, a
55:
16:Musical tone
1422:Dissonances
1408:Major sixth
1403:Minor sixth
1388:Major third
1383:Minor third
1371:Consonances
1341:Preparation
1336:Pedal point
1202:January 15,
1025:"The Fugue"
868:John Denver
848:jazz fusion
841:Hans Zimmer
833:main themes
776:James Brown
768:Cinema Show
726:Giant Steps
705:Pat Metheny
689:"34 Skidoo"
677:Miles Davis
663:" (intro),
596:Die WalkĂĽre
350:harpsichord
93:suspensions
66:organ point
58:pedal point
28:Pedal curve
1477:Categories
1346:Resolution
1291:Avoid note
1011:2017-07-30
911:References
829:"Sherlock"
685:Bill Evans
623:Alban Berg
578:modulation
483:"Le Gibet"
315:polyphonic
168:added tone
62:pedal note
32:Pedal tone
900:Bariolage
876:Tom Petty
803:Hitchcock
784:Van Halen
699:from his
641:crescendo
535:'s cycle
207:concertos
147:inversion
81:dissonant
70:sustained
1326:Cambiata
1311:Interval
1286:Argument
953:Archived
894:See also
817:ostinato
732:♭
669:Too High
588:arpeggio
583:♭
550:♭
479:"Voiles"
470:♭
464:♯
454:♭
444:♭
430:♭
409:♭
375:Erlkönig
372:'s song
370:Schubert
155:dominant
1439:Tritone
1353:Spectra
1301:Cadence
1296:Beating
821:timpani
770:" and "
760:Genesis
721:"Naima"
715:", and
711:" and "
703:album,
673:(intro)
632:Wozzeck
521:Requiem
475:Debussy
319:cadence
226:resolve
153:or the
109:harmony
105:repeats
1413:Octave
1378:Unison
1224:
1138:
1113:
985:
931:
882:" and
764:groove
741:bridge
629:opera
533:Wagner
404:Chopin
284:fugues
203:Mozart
99:, and
60:(also
1306:Chord
798:')."
796:Relax
758:band
709:Lakes
487:Ravel
485:from
461:, a G
354:trill
218:drone
209:. An
189:Types
179:organ
159:scale
151:tonic
145:(see
139:voice
85:parts
1222:ISBN
1204:2022
1136:ISBN
1111:ISBN
983:ISBN
929:ISBN
888:Name
878:'s "
870:'s "
794:’s '
788:Jump
786:’s '
745:solo
737:bass
707:'s "
667:'s "
653:jazz
481:and
135:root
124:Play
77:bass
73:tone
47:Play
890:".
886:' "
839:by
835:of
778:’s
743:or
719:'s
695:'s
687:'s
679:'s
659:'s
625:’s
489:'s
255:In
248:'s
240:'s
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1195:.
1160:,
1150:^
1122:^
968:^
959:,
951:.
940:^
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691:,
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675:,
671:"
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1267:e
1260:t
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