Slash Chords (2) Pedal Point

In the previous session, we covered the technique of “inversions”, altering the sound balance by placing the 3^rd, 5^th or 7^th as the bass. However, slash chords have still other applications. The focus this time is on learning the second technique, known as Pedal Point.

1. Understanding Pedal Points

A “pedal point” is a simple technique where you continuously play the same bass note regardless of chord changes.

Here’s a simple progression IIVIIV, which I used as a sample in the previous discussion. Let’s keep the bass fixed on I.

The notation for pedal points in RNA is not firmly established. In this text, I’ll simply denote the degrees the bass plays¹.

As the bass stays on the tonic, the tonal stability has significantly increased compared to before. Fixing the bass in this way allows you to maintain a feeling of a specific chord function.
The notes that are often chosen as a pedal point is; do and la, which can emphasize the stability of tonic function, or so, which can keep the unsettling feel of dominant.

Pedal points that maintain tonic function notes are called “Tonic Pedals,” while those maintaining dominant function are referred to as “Dominant Pedals“.

2. Major Tonic Pedal

A tonic pedal brings a solid and stable feeling to a song, highly usable in practice. Let’s check out the tonic pedal in major keys first.

Here is an extremely clear example. The bass, except for playing re to match the II_m chord at 1:03, keeps playing do throughout the verse. Even the phrases are the same. This song, with its grand SF-ish theme, effectively uses the tonic pedal to convey the immense scale of the story.

Coldplay’s song, starting with the sampled speech from Chaplin’s movie. This is also quite straightforward. While the upper voices change the chords in various ways, the bass relentlessly follows a single phrase. Almost one phrase until 2:50. Amazing!

This is a rather extreme example where the upper voices create various chord progressions, but the bass remains unchanged from do throughout the entire song².
In terms of the lyrics, this is a love song filled with confidence. The use of the tonic pedal serves as an expression of stability and calmness—The solidly positioned bass provides a sense of reassurance to the listener.

Chords for I pedal (do)

When the bass is playing I as a pedal, various chords can be layered on top. Let’s take a look at some examples.

IV_/IIV_/II_Δ7

Here is an example of using a tonic pedal with the prime chords. The repeated use of major chords gives it a bright and open feel.

IVII_/IVI_/IVm_/I

Here is a highly recommended pattern that incorporates parallel minor chords. It creates a grand and tense atmosphere, making it a very interesting sound. Other than these, II, II₇, or IV_m can bring great effects too.

Here is a practical example of a tonic pedal with parallel minor chords. It’s the intro; the bass consistently plays the tonic, while the guitar overlays IVII_mVII on top.

What’s particularly impressive is the inclusion of the tonic minor! Tonic minor chords are often challenging to incorporate, but in the context of a pedal point, it creates a condition where “it’s natural for various unusual chords to be included.

3. Minor Tonic Pedal

In a minor key environment, the root of the VI_m chord, that is, la, is the note that the bass keeps plyaing to constitute a tonic pedal. Similarly, this is perfect for creating a sense of stability and weightiness. It is commonly seen in genres that create songs with simple loops, such as hip-hop and techno.

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Great examples from two rap songs, hip-hop and reggae.

First, Eminem’s iconic song “Lose Yourself” is a typical example utilizing the grand feeling of a tonic pedal as an expression of self-boost. The upper instruments loop follows either a 6-6-4-4 or a 6-6-4-5 pattern, but the bass does not move at all from la from start to finish. Coupled with the steady kick rhythm, I believe it matches the lyrical theme incredibly well.

The next, there’s a slight pedal point from the intro, but it becomes more apparent in the verse section starting at 0:49, where it remains a minor tonic pedal throughout the part. The guitar riff probably follows the same 6-2-3-3 progression as the hook part, creating a contrast between the moving hook and the stationary verse.
This song revolves around the Jamaican religious movement called “Rastafari”, and the title “Red, Gold, Green” refers to the colors of its symbolic flag. The pedal point significantly contributes to the grand and unwavering atmosphere, embodying themes of resilience and fearlessness.

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Additionally, here are two more examples from techno and nu-disco.

The former, “Houdini” by Dua Lipa is an example of a tonic pedal with a four-on-the-floor beat and a synth bass, typical of the nu-disco genre. Except for the ending section, almost all parts of the song use pedal points. While the synth pads in the upper parts showcase several chords like IV and V, the bassline remains largely on la throughout. With the assertive tone of the lyrics, the pedal points contribute to the vibes of confidence in the song.

Lastly, “Giorgio’s Theme”, consistently repeats the simple bassline like “la–la–ti–do“. From 0:30 synth strings come in playing a 6-1-5-6 progression, but the bassline never changes, keeping the same phrase at all.
Thus, in genres like techno where it’s common for the bassline to repeat exactly the same thing, the overlapping of chord instruments often naturally gives rise to a tonic pedal condition.

Chords for VI pedal (la)

For the minor tonic pedal, overlaying any of the prime chords III_mIII_mIVV can be interesting, and II₇ is a classic choice. Adding VII also brings an eerie and effective quality.

I created a sample with a techno sound. It descends from VI_m to I, and then overlays II₇ and VII. The last two, being non-prime chords, give it a unique quality. Especially, notes like fa or ti♭ are positioned half-step above the ordinary VI_m chord tones (la, do, mi), creates highly unusual sonorities.

Examples in Background Music

Weather major or minor, tonic pedals are quite common choices in the background music of movies and games, as their ability to create solid and stable atmospheres is highly versatile.

The first track is a background music from the RPG “FINAL FANTASY V”. Despite the developments in the melody and upper chords, the bassline remains unchanged. The separation between the bass and melody creates an unusual atmospheric sensation. This characteristic is also present in “Clue Two.”

“A Hard Teacher” is one of the background music pieces from the movie “The Last Samurai.” It has a slightly different purpose, utilizing the pedal point technique to evoke an ethnic and grand ambiance.

4. Dominant Pedal

In pop and jazz, the “Dominant Pedal”, where the bass extensively sustains a dominant-function chord root such as so, is also quite common.

This example features complex chords in the first half, and then the bass holds a V while the piano plays various chords. Sustaining the V creates a peak of “tension” in the development. Even if there is some murkiness, as long as it resolves to the tonic afterward, it can be easily accepted as a good accent.

Here’s a real example. From 0:14 to 0:20 after the intro, the bass maintains the same note while the brass section moves, altering the sense of chords.

5. Soprano Pedal

So far, we’ve explored the technique of maintaining a constant low pitch with the pedal point. However, on the opposite end, there is a technique to keep the note of a high register part consistently. It’s called a Soprano Pedal³.

Unlike the bass that changes according to the chords, in this case, the synth, strings, and piano continue to play the exact same phrase. Since the most prominent upper voices repeats the same phrase, it naturally catches the ear and has a more significant impact compared to the bass pedal point.

The beauty of this technique lies in the context of “repetition”, allowing for some collisions in the sound to be tolerable. Even if a sound might seem muddy and unpleasant when heard in isolation, within the flow of the soprano pedal, it tends to sound natural. In the provided audio, theoretically, there are challenging pitch intervals included, but within the context, they are masked, creating a coherent sound.

This applies to pedal points in general; the stratification between the bass and the upper allows for encountering unusual sounds that might seem very complex in terms of chord names. It’s enjoyable to experiment with combining chords and basses or even discarding chord-name-based thinking and exploring sounds.

6. Origin and Etymology

Finally, let me share some trivia about the origin and etymology of the term “pedal point”. What kinda “pedal” does it refer to?—It’s the pedal of an organ. In an organ, you play the bass notes by pressing the pedals with your feet.

Due to the structure of the instrument, organ compositions naturally tend to include arrangements where a single low note is held with the foot while various chords are played with both hands.
The video above features one of J.S. Bach’s representative works, “Toccata and Fugue (BWV565)” where you can see multiple instances of the pedal being held down, such as at 5:14 and 6:39. Because of the sustained pressing of the pedal, it was named the “pedal point”.

This piece is believed to have been composed in the early 18th century. We have been enjoying the same technique for hundreds of years!

Summary

• The technique of maintaining the same note on the bass regardless of chord changes is called “Pedal Point”.
• When done with the bass notes of I or VI, it is called “Tonic Pedal”, providing a solid and stable impression.
• There are also “Dominant Pedal”, where the bass plays the V note, and “Soprano Pedal”, which is performed in the upper section.
• There is a tolerance for some muddiness due to the repeating effect, making it ideal for constructing complex sounds.

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