[Smt-talk] Pedal Point

[Ninov, Dimitar N]

Derar Donna,

Thank you for your message. I will address your points somewhat backwards.

1. Pedal point. The pedal point is neither a chord tone nor a non-chord tone; it is a compositional device, which (in its true nature) is a platform upon which different events happen. Anything between a long organ passage (polyphonic or harmonic or both) which unfolds over a "drone" in the organ's pedal and a short "orgelpunkt" upon which only three or sometimes even two chords occur, may happen in the realm of the pedal point. In this sense it not only does not defy by-functionality- it welcomes it, and this process is inevitable. This is why pedal point shall not be studied in the chapter of non-chord tones, but separately, after modulation. Exceptions: the explanation of pedal six-four chords and the cadential six-four, which relate to the concept of pedal point will be provided in the corresponding chapter with a link to the pedal point chapter.

2. Foreground versus background. You say:"I hear a pedal as a single function (e. g., as a dominant retrans). However, there are times when I don't want to
work hard, preferring to sit back and enjoy the scenery (the foreground). In this case, I would probably hear
activity over a pedal as a separate progression, but, nevertheless, over the prevailing bass. 

I am astonished; in fact you have to work harder when you need to look "behind" the pedal point to discern the harmonic functions which occur over it, not the other way around. The first thing thing that impresses your mind is the pedal point, not the functions which occur on top of it. You do not have to apply any effort to discern the function of the pedal point which is usually a tonic or a dominant. In this sense (which is not Schenkerian) the pedal point may be the surface, and what happens behind the scene may be the background. To give you an example:  Robert Schumann, Op. 68, No. 18 - "Schnitterliedchen". A parallel period which unfolds over a double tonic pedal point. What impresses us on the surface is the pedal point. But the formal and deeper harmonic analysis reveals a parallel period, which occurs over an implied progression I-II6-V7-I. All this happens over a tonic bass. 

Find it and play it for yourself. If this is a parallel period, it certainly has cadences, and these implied cadences are IAC and PAC. Notice: an implied IAC and PAC over a pedal point! Something which defies the assumption that a functional prolongation automatically negates cadence. (This is William Caplin's notion about which I have had long arguments with him). I wonder how Schenkerians would analyze that!

According to your logic, when you relax, you will discover all the functional motion over a pedal point at once, but when you work harder, you will realize that the the bass states the tonic function. Is it not the other way around?

The bass may usually "run" the show (such as in the cadential six-four, where the tonic function eventually gives way to the dominant in the bass) but there are cases which contain much more than that.

Thank you,

Dimitar

Dr. Dimitar Ninov, Lecturer
School of Music
Texas State University
601 University Drive
San Marcos, Texas 78666
________________________________________
From: Donna Doyle [donnadoyle at att.net]
Sent: Monday, February 13, 2012 8:05 PM
To: Ninov, Dimitar N
Cc: smt-talk at lists.societymusictheory.org
Subject: Re: [Smt-talk] Nature and Labeling of the Cadential Six-Four

Dear Dimitar,

Re the pedal point (a technique quite different from the cad 6/4, of course, about which I have yet to read all
the recent commentary): How I hear a pedal point depends upon which level I'm listening to--the middle-
or the foreground. Generally, my attention is drawn to the bassline, as it gives me more information than the
top parts about the course of the piece. Listening to the bassline enables me to follow the piece on various
middleground levels. This takes focused, sustained attention and memory but is extremely satisfying. In this case,
I hear a pedal as a single function (e. g., as a dominant retrans). However, there are times when I don't want to
work hard, preferring to sit back and enjoy the scenery (the foreground). In this case, I would probably hear
activity over a pedal as a separate progression, but, nevertheless, over the prevailing bass. (I believe that,
because of the strength of the bass's overtones, true bi-functionality is difficult to achieve, if not impossible.
Scoring has a big influence. Don Sebesky, the film composer/arranger, taught me this.) From another
perspective--traditionally, the pedal point is classified as a dissonance, like the passing tone, etc. There are times,
I think, when it is just plain dissonant with the upper part activity--when it fades in and out of agreement. This, too,
though, argues against bi-functionality, doesn't it?

Generally, I tend to believe the bass runs the show. (Move your arms all you like, but if your feet stay glued
to the floor, you ain't dancin'.)

Best,
Donna Doyle
Queens College CUNY


On Feb 13, 2012, at 2:09 PM, Ninov, Dimitar N wrote:

Dear Dona,

You say: The cadential 6/4

When the bass ascends the scale from T through S to D, it makes
little sense to me that, upon reaching the ^5,
the other voices would sound T above it. This reminds me of Terry
Southern's '60s satirical novelette, "Candy":
An American young woman travels to Tibet seeking a guru. Upon
reaching the top of his mountain and meeting
him face to face, she exclaims, "Daddy!"

I have a question for you. When a passage unfolds over a pedal point (T or D) do you only hear one single function throughout? Do you not recognize bi-functionality per se?

Thanks,

Dr. Dimitar Ninov, Lecturer
School of Music
Texas State University
601 University Drive
San Marcos, Texas 78666
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