From Wikipedia, the free encyclopedia

For "pedal point" in the mathematical sense, see pedal curve.

For the "pedal" concept in brass instruments, see pedal tone.

In tonal music, a pedal point (also pedal tone, organ point, or just pedal) is a sustained tone, typically in the bass, during which at least one foreign, i.e., dissonant harmony is sounded in the other parts. Pedal points are often found near the end of fugues and other polyphonic compositions. Pedal points are usually on either the tonic or the dominant tones. The pedal tone is considered a chord tone in the original harmony, then a nonchord tone 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 added tone than a nonchord tone, or pedal points may serve as atonal pitch centers.

The term comes from the organ for its ability to sustain a note indefinitely and the tendency for such notes to be played on a pedal division.

A double pedal is two pedal tones played simultaneously.

An inverted pedal is a pedal that is not in the bass (and often is the highest part.) Mozart included numerous inverted pedals in his works, particularly in the solo parts of his concertos.

An internal pedal 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.

Pedal points are somewhat problematic on the harpsichord or piano, which have only a limited sustain capability. Often the pedal note is simply repeated at intervals. A pedal tone can also be realized with a trill; this is particularly common with inverted pedals.

A drone differs from a pedal point in degree or quality. A pedal point may be a nonchord tone and thus required to resolve, unlike a drone, or a pedal point may simply be a shorter drone, a drone being a longer pedal point.

Examples of Jazz tunes which include pedal point include Duke Ellington's "Satin Doll" (intro), Bill Evans's "Skidoo", Miles Davis's "Agitation", Herbie Hancock's "Dolphin Dance", Pat Metheny's "Lakes", and John Coltrane's "Naima" (ibid). Pop songs using Pedal Points include "Fly like an Eagle" by Steve Miller Band , "Superstition " by Stevie Wonder and "Crazy" by Seal.

• Ostinato

• Rawlins, Robert (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians. ISBN 0-634-08678-2.