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In tonal music, a pedal point (also pedal tone, pedal note, organ point, or 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. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance." 〔Frank, Robert J. (2000). ("Non-Chord Tones" ), ''Theory on the Web'', Southern Methodist University.〕 Pedal points "have a strong tonal effect, 'pulling' the harmony back to its root." 〔 When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal point〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p.99. Seventh Edition. ISBN 978-0-07-294262-0.〕 (see inversion). Pedal points are usually on either the tonic or the dominant (fifth note of the scale) 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 an organ's pedal keyboard. 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. ==Types== 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. 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. Pedal points are often found near the end of fugues "...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."〔("The Fugue" ), an outline of the substantials of a fugue based on Hugo Norden's ''Foundation Studies in Fugue''〕 Fugues often conclude with figures written over a bass pedal point.〔Smith, Timothy A. (1996). ("Anatomy of a Fugue" ), .〕 Pedal points are also used in other polyphonic compositions to strengthen a final cadence, signal important structural points in the composition, and for their dramatic effect. 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. 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 pedal harpsichord, a harpsichord with a pedal keyboard, makes it easier to perform repeated bass notes on the harpsichord, since both hands are still free to play on the upper manual keyboards. Pedal points often appear in early baroque music "alla battaglia", notably prolonged in Heinrich Schütz's ''Es steh Gott auf'' (SWV 356) and Claudio Monteverdi's ''Altri canti di Marte''.〔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: () 〕 The term is also used to describe a bass note that is held for a long period in orchestral music, as in the symphonies of Jean Sibelius. 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. Another example, one in which a timpani roll is used as the pedal point, is the final section of Johannes Brahms's ''Ein deutsches Requiem'': "Herr, lehre doch mich." In this example, a D natural is sustained in pedal point for nearly 2½ minutes until resolving in the final chord of the movement. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「pedal point」の詳細全文を読む スポンサード リンク
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