{"id":10469,"date":"2015-11-21T00:01:50","date_gmt":"2015-11-21T08:01:50","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10469"},"modified":"2024-10-21T07:50:33","modified_gmt":"2024-10-21T15:50:33","slug":"pedal-point-progressions-bass-note-vs-foreign-harmony","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/pedal-point-progressions-bass-note-vs-foreign-harmony\/","title":{"rendered":"Pedal Point Progressions: Bass Note vs Foreign Harmony"},"content":{"rendered":"<p>In today&#8217;s post, I want to introduce you to the pedal point.<\/p>\n<p>Sure, playing cyclical (or circular) progressions that move in <a href=\"https:\/\/www.hearandplay.com\/main\/the-secret-to-using-circular-chord-progressions-in-ballads\">fourths<\/a> and fifths sounds harmonically engaging and exciting. And music loves to move in this manner. But there are musical situations where <strong>less is more.<\/strong> These are situations where you don&#8217;t necessarily need to change bass notes per chord. In this situation, one bass note is used over several chords. <\/p>\n<p>[Tweet &#8220;In music, sometimes less is more&#8221;]<\/p>\n<p>Here&#8217;s what I mean: <\/p>\n<p>You can play the primary chords (Chords 1, 4 &#038; 5) over a C bass note as opposed to the traditional practice of changing bass notes per chord.<\/p>\n<p>C major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,E,G&amp;color=FFA500&amp;size=2\" alt=\"C major over C pedal point - C C E G\" border=\"0\" \/><\/p>\n<p>F major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,A&amp;color=FFA500&amp;size=2\" alt=\"F major over C pedal point - C C F A\" border=\"0\" \/><\/p>\n<p>G major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,B,D,G&amp;color=FFA500&amp;size=2\" alt=\"G major over C pedal point - C B D G\" border=\"0\" \/><\/p>\n<p>F major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,A&amp;color=FFA500&amp;size=2\" alt=\"F major over C pedal point - C C F A\" border=\"0\" \/><\/p>\n<p>The C bass note is called a <strong>PEDAL POINT<\/strong> or <strong>PEDAL NOTE<\/strong>.<\/p>\n<h2>Pedal Point &#8211; Defined<\/h2>\n<p><strong>A pedal point<\/strong> (or note) is a <a href=\"https:\/\/en.wikipedia.org\/wiki\/Pedal_point\" target=\"_blank\" rel=\"noopener\">sustained tone<\/a>, typically in the bass, that is played while a foreign harmony or chord is sounded on the right hand. Pedal points are usually on either the <strong>Tonic<\/strong> (&#8220;Do&#8221;) or the <strong>Dominant<\/strong> (&#8220;Sol&#8221;), which are the first and fifth tones of the scale, respectively.<\/p>\n<p>In the key of &#8220;C,&#8221; we&#8217;ll look at a simple progression with &#8220;C&#8221; as the pedal tone.<\/p>\n<p>C major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,G,C,E&amp;color=FFA500&amp;size=2\" alt=\"C major over C pedal point - C C G C E\" border=\"0\" \/><\/p>\n<p>D major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,Fs,A,D&amp;color=FFA500&amp;size=2\" alt=\"D major over C pedal point - C C F# A D\" border=\"0\" \/><\/p>\n<p>F minor \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,Ab,C,F&amp;color=FFA500&amp;size=2\" alt=\"F minor over C pedal point - C C Ab C F\" border=\"0\" \/><\/p>\n<p>C major \/ C bass<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,G,C,E&amp;color=FFA500&amp;size=2\" alt=\"C major over C pedal point - C C G C E\" border=\"0\" \/><\/p>\n<p>How did that sound?<\/p>\n<p>&#8220;<strong>Not Bad?<\/strong> <em>Sounds discordant.<\/em>&#8221;<\/p>\n<p>&#8220;<strong>Nice!<\/strong> <em>I&#8217;ve heard it in some hit songs.<\/em>&#8221;<\/p>\n<h2>The &#8216;Beauty&#8217; of Discordance?<\/h2>\n<p>The Pedal Point (C) is conflicting with some chords in this progression. <\/p>\n<p>But that&#8217;s the idea! <\/p>\n<p>Pedal Points are to be played against foreign chords or harmony as well as related ones. That&#8217;s how pedal points work. <\/p>\n<p>Imagine having an F\u266f Major triad over C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,Fs,As,Cs,Fs&amp;color=FFA500&amp;size=2\" alt=\"C C F# A# C# F#\" border=\"0\" \/><\/p>\n<p>The chord above can be notated as F\u266f\/C which means <strong>F\u266f over C<\/strong>. C and F\u266f are foreign keys (no relationship). C and F\u266f Major triads do not have any chord tones in common. <\/p>\n<p>If we form intervals between C and the chord tones of F\u266f Major triad, we&#8217;ll have augmented intervals (which are also called dissonant intervals [when dissonant intervals are played, the notes sound disagreeable <em>with a {high or low} degree of unpleasantness<\/em>]).<\/p>\n<p>Here are the <em>harmonic environments<\/em> created by Augmented Intervals formed from this bass note versus foreign harmony:<\/p>\n<p><strong>C-F\u266f is an Augmented Fourth<\/strong> (aka &#8211; &#8220;Tritone&#8221;). This interval was known as <em>diabolus in musica<\/em> (meaning &#8220;Devil in Music&#8221;) in medieval times (AD 400-1400). It was once a forbidden interval! Playing it in church could put you at the risk of being excommunicated.<\/p>\n<p><strong>C-A\u266f is an Augmented Sixth. <\/strong>This interval creates Augmented Sixth chords. There are three Augmented sixth chords (Italian Sixths, German Sixths and French Sixths). Augmented Sixth chords resolve to dominant chords (I believe the duo are cousins). Not much is known about this interval of Augmented sixth chords outside classical music because the difference between an Augmented sixth chord and a dominant seventh chord is spelling. <\/p>\n<p>For example:<\/p>\n<p>A\u266d Dom7 and A\u266d Augmented German sixth have everything in common except spelling:<\/p>\n<p>A\u266d Dom7 has a G\u266d note:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Ab,C,Eb,Gb&amp;color=FFA500&amp;size=2\" alt=\"Ab C Eb Gb\" border=\"0\" \/><\/p>\n<p>A\u266d German Sixth has an F<strong>\u266f<\/strong> note:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Ab,C,Eb,Fs&amp;color=FFA500&amp;size=2\" alt=\"Ab C Eb F#\" border=\"0\" \/><\/p>\n<p><strong>C-C\u266f is an Augmented Unison.<\/strong> This is another dissonant interval. In tonal music, this is the shortest interval.<\/p>\n<p>Notwithstanding the discordance associated with the bass note under foreign harmony, we can enjoy pedal point progressions because they give us the liberty (maybe I should say <em>license<\/em>) to connect any foreign harmony with the Tonic or Dominant as the bass note. That&#8217;s a <em>harmonic opportunity<\/em> not just to experience but to explore the beauty of discordance.<\/p>\n<h2>Pedal Point &#8211; Application<\/h2>\n<p>Alright, let&#8217;s take it up a step further by applying this pedal progression to a known Gospel song. With the same song, the same pedal, but different chords (reharmonized).<\/p>\n<p><strong>One thing we<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,G,C,E&amp;color=FFA500&amp;size=2\" alt=\"C C G C E\" border=\"0\" \/><\/p>\n<p><strong>Ask of you<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,Bb,D,F&amp;color=FFA500&amp;size=2\" alt=\"C C F Bb D F\" border=\"0\" \/><\/p>\n<p><strong>One thing that<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,A,D,Fs,A&amp;color=FFA500&amp;size=2\" alt=\"C C A D F# A\" border=\"0\" \/><\/p>\n<p><strong>We desire<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,Ab,C,F&amp;color=FFA500&amp;size=2\" alt=\"C C F Ab C F\" border=\"0\" \/><\/p>\n<p>Wow! Hope you&#8217;re not just reading this? You better stop reading this and plunk down the chords &#8211; <em>you&#8217;ll be amazed.<\/em><\/p>\n<p>Playing pedal note progressions is a litmus test to the fact that <em>less is more<\/em>. We&#8217;re achieving more with a static bass line over related and foreign harmony. Pedal point progressions are an integral part of contemporary praise and worship songs. <\/p>\n<p>P.S<\/p>\n<p>There are lots of songs that can fit in perfectly into this pedal point progressions. Let me give you one more example:<\/p>\n<p><strong>Hosanna<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,G,C,E&amp;color=FFA500&amp;size=2\" alt=\"C C G C E\" border=\"0\" \/><\/p>\n<p><strong>Hosanna<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,A,D,Fs,A&amp;color=FFA500&amp;size=2\" alt=\"C C A D F#\" border=\"0\" \/><\/p>\n<p><strong>Hosanna in the high-<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,Bb,D,F&amp;color=FFA500&amp;size=2\" alt=\"C C F Bb D F\" border=\"0\" \/><\/p>\n<p><strong>-est<\/strong><br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,C,F,Ab,C,F&amp;color=FFA500&amp;size=2\" alt=\"C C F Ab C F\" border=\"0\" \/><\/p>\n<h2>Pedal Point &#8211; Final Tips<\/h2>\n<p>We&#8217;ve covered a lot on Pedal Point Progressions (&#8220;P-Cube&#8221;). I&#8217;ll be back with some mind-blowing pedal point progressions in future posts. Before then, don&#8217;t forget to:<\/p>\n<p><strong>INVERT THE CHORDS<\/strong>. The pedal point (or note) is mostly played against triads. These triads have their respective inversions (first and second inversions). A pedal point chord can sound better when inverted. If possible, let the melody note of the chord be the melody note of the song you&#8217;re playing.<\/p>\n<p><strong>KEEP IT SIMPLE<\/strong>. Most times, you don&#8217;t really have to go far into a foreign harmony that you can&#8217;t resolve. Remember to use your license properly. To avoid being stuck in a discordance you can&#8217;t handle, keep it simple.<\/p>\n<p>Until next time.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A pedal point is a sustained tone, typically in the bass, that is played while a foreign harmony or chord is sounded on the right hand. Learn the ins and outs of pedal points and how to use them in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":23041,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[1790,1788,1791,1789],"class_list":["post-10469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-pedal-note","tag-pedal-point","tag-pedal-point-progression","tag-pedal-tone","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pedal Point Progressions: Bass Note vs Foreign Harmony - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"A pedal point is a sustained tone, typically in the bass, that is played while a foreign harmony or chord is sounded on the right hand.\u00a0\" 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