Editing Pedal point (section)

==Use in opera==

The openings of the first two operas of [[Wagner]]'s cycle ''[[Der Ring des Nibelungen]]'' ("The Ring of the Nibelung") feature pedal notes. The prelude to ''[[Das Rheingold]]'' features an E{{music|flat}} pedal tone in the bass for 162 bars:[[File:Wagner, opening of the Prelude to Das Rheingold.wav|thumb|Wagner, opening of the Prelude to Das Rheingold]][[File:Wagner, opening of the Prelude to Das Rheingold.png|thumb|center|500px| Wagner, opening of the Prelude to Das Rheingold.]]

Robert Donington (1963, p.&nbsp;35)<ref>Donington, R. (1963) ''Wagner's "Ring" and its Symbols''. London, Faber.</ref> says: "The Ring opens quietly, but with an effect which in the context of harmonized music is apparently unique. For a very long passage there is not only no [[modulation]] but no change of chord. A chord of E{{music|flat}} major builds up: first the tonic sounds in the abysmal depths; next a fifth is added; then an [[arpeggio]] movement on the complete triad, calm but swelling, an embryonic motive&nbsp;... But still the chord does not change&nbsp;... A sense of timelessness sets in."

By contrast, the stormy prelude to ''[[Die Walküre]]'' features an inverted pedal: the sustained tremolos in the upper strings offset the melodic and rhythmic activity in the 'cellos and basses:[[File:Wagner, Die Walkure opening.wav|thumb|Wagner, opening of the Prelude to Die Walkure]][[File:Walkure opening.png|thumb|center|500px|Wagner, opening of the Prelude to Die Walkure.]]

[[Alban Berg]]’s [[expressionist]] opera ''[[Wozzeck]]'' makes subtle use of a pedal tone in [https://www.youtube.com/watch?v=702knK1mop0 Act 3, scene 2], when the jealous, put-upon soldier Wozzeck murders his unfaithful wife, Marie.  Douglas Jarman (1989, p38) describes the powerful dramatic effect of this episode:<ref>Jarman, D (1989) ''Alban Berg Wozzeck''.  Cambridge University Press.</ref> "Marie and Wozzeck are walking through the wood. Anxious, Marie tries to hurry on but Wozzeck detains her. A disjointed, sinister conversation follows until, as the moon rises, blood-red, Wozzeck draws a knife. A long [[crescendo]] begins as the note B natural, which has been present as a subdued pedal point throughout the scene, is now taken up by the kettledrums. Wozzeck plunges the knife into Marie’s throat."