Pedal Point Play Mode

Pedal point is a term that originated in organ literature. It is a nonharmonic tone that is sustained in the pedal (bass), while the harmonies change above it. The definition has expanded to include any note that remains constant, regardless of range, and thus ignores the harmonic changes.

A part that is set for pedal point play mode ignores the root and other chord tones of the chord in a segment. The pitches used in the part—which are measured numerically as 1, 2, 3, 4, and so on, of the chord for composition—are applied to the scale of the chord, as shown in the Chord Properties window. They are not adjusted to follow the root of the chord, as they normally would be.

Note The chord scales of all chords use only pitches between C1 and B1. For example, the scale of an F major chord begins with the pitch C1. Thus, the scale tones used by a part set for pedal point play mode always fall between C1 and B1.

For many chords there is no change at all in the pitches used to play the part. If all the original pitches in a part are included in the scale of a chord, the part plays as though there is no change in chord. If a pitch in the part is not included in the scale of a chord, the part notes adjust as necessary by a half or whole step to fit the pitches in the chord scale.

For example, a part using the default 2Cma7 chord for composition, and containing the notes C, E, G, and B, normally plays the 1, 3, 5, and 7 of a chord in a segment, based on the root and chord tones shown in the Chord Properties window. However, if the part is set for pedal point play mode, it plays the 1st, 3rd, 5th and 7th steps of the scale for a chord encountered, ignoring the actual root and chord tones of the chord.

If the 1st, 3rd, 5th and 7th steps of the chord scale are C, E, G, and B, the part plays using these notes, creating the effect of no chord change at all. Because many chords can include these four pitches in their chord scales, the part can encounter many chords with no change to how the part plays, thus creating the sound of a pedal point. For example, the chords C major, D minor, G major, or A minor all likely include C, E, G, and B in their chord scales, and the part would play exactly the same for all these chords.

If the chord scale of a chord contains pitches other than C, E, G, or B, then the part uses whatever pitch falls on the same step in the scale, thereby minimizing the changes to how the pattern sounds. For example, if the part encounters a 2C#mi7 chord with a C# natural-minor chord scale, the 1st, 3rd, 5th and 7th scale steps of the scale would be C#, E, G#, and B. If the part encounters a 2Gmi7 chord with a G natural-minor chord scale, the 1st, 3rd, 5th and 7th scale steps of the scale would be C, Eb, G, and Bb.

The following table shows the results of a part set to pedal point play mode as it encounters chords with different chord scales. The part was created using a 2Cma7 chord for composition, and contains the notes C, E, G, B (equal to 1, 3, 5, and 7 of the chord for composition).

Note Because a pedal part ignores the chord root, the behavior of the part as it encounters a chord is the same whether the chord root is in the lower range, such as 1C, or the upper range, such as 2C.

Pedal Point Play Mode and Segment Key Signatures

When you set a part to pedal point play mode, its behavior is not affected by the key signature in the chord track of the segment in which the part is playing.

Pedal Point Play Mode and Pattern Key Signatures

The key signature of a pattern interacts with the chord for composition to affect the behavior of the parts in a pattern when you play the style by itself—that is, without the use of a segment containing the style. This effect only takes place with parts that are set to pedal point play mode.

If a pedal point part contains variations that are set in the Variation Choices Window to play only with specific chord roots, the chord for composition for a pattern serves as the chord that is checked to determine compatibility with the variation. If a part is active and open, then all its variations play randomly during playback of the pattern. However, all other parts play only variations that are compatible with the chord for composition.

If you change the key signature for the pattern, the root function of the chord for composition may change relative to the key. For example, a 2Dma7 chord for composition serves as a II chord in the key of C, but as a III chord in the key of Bb. Thus, a variation set to work only with a II chord no longer plays if you change the key from C to Bb.

This behavior enables you to test the playback of a part and its variations without other parts in the pattern randomly playing variations that are not normally used with the variation you are creating. Only the variations that are compatible with the current chord for composition are heard. This lets you change the chord for composition as needed during the creation process, so that you can hear appropriate variations from other parts that fit with the chord for composition. So long as the Function option is selected, all parts in the pattern adjust as you change the chord for composition. They remain constant with the final chord that you choose for the entire pattern. You can leave the pattern set to a fixed key, and conveniently create new variations in the active part while hearing only the variations in other parts that are appropriate for that chord for composition. For example, if you are in the key of C but want to create a variation that responds only to a IImi chord, change the chord for composition to Dmi. With the Function option selected, all parts in the pattern shift up one step.

Now create the new variation, and during playback only those variations in the non-open parts that are set to work with a II chord will play. If you set some variations to avoid playing with any II chord except a IImi chord, then those variations will play, while others will not.

After you create the new variation, you can change the chord for composition to another chord, and all parts, including the one just created, adjust to the new chord.