In searching for the right perspective to tackle this question I have come to two concepts that inspired the further research. The first is the concept of expectation. It is mostly promoted by the writings of Leonard B. Meyer in the more recent time it is researched and developed by others , which I take as conceptual frame.
The second is the concept of interactions that defines and organizes the musical events. The inspiration for the latter came from the social studies. The two concepts are interrelated: the expectation is a product of interactions of musical elements, and the expectations are also involved in interactions, thereby influencing the perception and understanding of a musical piece.
My following research questions are: Could the concept of musical expectation and the concept of interaction help explain the power of long notes? If yes, in which ways can these processes influence the perception of pedals and drones?
From this perspective, it is relevant to examine them. The current research aims at pointing at a number of such models. To define them, I have used the concepts of expectations and interactions. Music analysis of the chosen models and a number of musical fragments are so presenting the practical application of my theoretical research. Tip This page contains media that is intended to start playback automatically on opening.
This may include sound. Your browser is blocking automated playback. Please click here to start media. The examples often cover several stylistic periods that is, they show various forms of pedal. Some authors pay attention also to the function and the position a pedal tone can have in a composition.
Walter Piston is exceptionally elaborate on this topic. Next to this, he mentions the pedal as a means to make polyharmony polytonality perceptible the pedal representing one of the two keys , p. William Caplin sees pedal in a similar way. He introduces this concept in the context of prolongation. The pedal, which lies in the bass voice throughout the progression, contains the root of the prolonged harmony.
Most often, this harmony appears at the beginning and end of the progression. While most western theorists would agree that pedal refers to the sustained tone, above or under which various harmonic progressions unfold, a slight disagreement occurs regarding its harmonic status: consonant or dissonant.
Schenker, for example, claims that pedal tone must be dissonant. A drone does not stop at all and it does not change notes. Typically the instruments that use this are bagpipes or an organ. This is not nearly as popular of a technique as the pedal tone is. Once again most common instruments in this era cannot play a drone. The note can be played in any octave; it does not have to be in any certain range. How do you apply this to your playing? Well, there are licks that utilize pedal tones.
On guitar you can use a pedal tone in your solo to enhance your creativity. They sound very neat and are fun to play. Two common modes are the Dorian mode and the Mixolydian mode.
Modes are often found in folk music, pop music and jazz. When a piece of music changes key, it is said to modulate. It is most likely to modulate to a closely related key. The keys most closely related to the tonic are the dominant , the subdominant or the relative minor or major keys. Degrees of the scale and their different terms.
The chords above the bass may change, but the bass note stays the same. In the example, the pedal note is C, which you can see in the bass part. Whereas an ostinato pattern might be very short, a ground bass can last many bars before it is repeated. Musical devices and effects and how they feature in music by U2 Laura Mvula and Muse.
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