Editing Pedal point (section)

==Use in jazz and popular music==
Examples of [[jazz]] tunes which include pedal points include [[Duke Ellington]]'s [https://www.youtube.com/watch?v=TrytKuC3Z_o "Satin Doll"]" (intro), [[Stevie Wonder]]'s "[[Innervisions|Too High]]" [https://www.youtube.com/watch?v=0yIautCg9A4 (intro)], [[Miles Davis]]'s [https://www.youtube.com/watch?v=IrVnm66joQk "On Green Dolphin Street"], [[Bill Evans]]'s [https://www.youtube.com/watch?v=bngcMbZl4xM "34 Skidoo"], [[Herbie Hancock]]'s [https://www.youtube.com/watch?v=iB2Z2DY17yQ "Dolphin Dance"] from his ''Maiden Voyage'' album, [[Pat Metheny]]'s "[[Watercolors (Pat Metheny album)|Lakes]]" and "[[The Road to You|Half Life of Absolution]]", and [[John Coltrane]]'s [https://www.youtube.com/watch?v=Cx-TxiBi43c "Naima"].<ref>Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', p. 132. {{ISBN|0-634-08678-2}}.</ref> The latter, from the album ''[[Giant Steps]]'', has the notation "E{{music|b}} pedal" to instruct the [[bass (instrument)|bass]] player to play a sustained pedal. Jazz musicians also use pedal points to add tension to the [[bridge (music)|bridge]] or [[solo (music)|solo]] sections of a tune. In an [[ii-V-I turnaround|ii-V-I progression]], some jazz musicians play a V pedal note under all three chords, or under the first two chords.

Rock guitarists have used pedal points in their solos. The [[progressive rock]] band [[Genesis (band)|Genesis]] often used a "pedal-point [[groove (music)|groove]]",<ref name=":0">{{Cite book|last1=Spicer|first1=Mark S.|title=Sounding Out Pop: Analytical Essays in Popular Music|last2=Rudolph|first2=John|publisher=The University of Michigan Press|year=2010|isbn=978-0-472-11505-1|location=United States of America|pages=118}}</ref> in which the "bass remains static on the tonic as chords move above the bass at varying speeds", with the Genesis songs "[[The Cinema Show|Cinema Show]]" and "[[Supper's Ready#VI: "Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet)" (15:36 – 20:50)|Apocalypse in 9/8]]"<ref name=":0" /> being examples of this.<ref name="Brit">[http://www-3.unipv.it/britishrock1966-1976/testien/spi2en.htm "Composition And Experimentation In British Rock 1967–1976"], ''Philomusica on-line''.</ref> "By the late 1970s and early 1980s, pedal-point grooves such as this had become a well-worn cliché of progressive rock as they had of funk ([[James Brown]]’s [https://www.youtube.com/watch?v=JOD-M7WZkZQ "Sex Machine"]), and were already making frequent appearances in more commercial styles such as stadium rock ([[Van Halen]]’s '[[Jump (Van Halen song)|Jump]]') and synth-pop ([[Frankie Goes to Hollywood]]’s '[[Relax (song)|Relax]]')."<ref name="Brit"/>

Some [[Heavy metal music|heavy metal]] guitarist frequently employ pedal point licks in their lead playing. Examples include [[Adrian Smith (musician)|Adrian Smith]] and [[Dave Murray (musician)|Dave Murray]] of [[Iron Maiden]], who use open string pedal point licks in their solos on songs such as Hell on Earth, Hallowed be thy Name and Rime of the Ancient Mariner as well as Muhammed Suicmez of [[Necrophagist]] who makes frequent use of baroque-inspired pedal point melodies in songs such as Fermented Offal Discharge and Advanced Corpse Tumor.

Film composers use pedal points to add tension to thrillers and horror films. In the [[Alfred Hitchcock|Hitchcock]] thriller film ''[[North by Northwest]]'', [[Bernard Herrmann]] "uses the pedal point and [[ostinato]] as techniques to achieve tension", resulting in a dissonant, dramatic effect. In one scene, "The Phone Booth", Herrmann "uses the [[timpani]] playing a low pedal B-flat to create a sense of impending doom", as one character is arranging for another character's murder.<ref>"[http://hitchcock.tv/essays/herrmann/herrcase2.html A Case Study of the Bernard Herrmann Style]", p. 2, ''Hitchcock.TV''.</ref> Other notable examples from similar genres are the music for the [https://www.youtube.com/watch?v=ARSKVtKqiwY opening title] of the TV series [[Sherlock (TV series)|"Sherlock"]] by David Arnold and Michael Price, and one of the [https://www.youtube.com/watch?v=zVbldiNLalo main themes] of [[Interstellar (film)|Interstellar]] by [[Hans Zimmer]]: "[...] to sustain a dominant pedal at length as this theme does gives an impression of a prolonged avoidance of resolution. Indeed, given the enormous length of time that elapses during Cooper’s absence, this is an entirely appropriate sentiment.".<ref>{{cite web |url=https://filmmusicnotes.com/2015/02/18/oscar-nominees-2015-best-original-score-part-5-of-6-hans-zimmers-interstellar/ |title=Oscar Nominees 2015, Best Original Score (Part 5 of 6): Hans Zimmer's Interstellar |last=Richards |first=Mark |date=February 18, 2015 |website=Film Music Notes |access-date=January 15, 2022}}</ref>

In small combo jazz or [[jazz fusion]] groups, the double bass player or Hammond organist may also introduce a pedal point (usually on the tonic or the dominant) in a tune that does not explicitly request a pedal point, to add tension and interest. [[Thrash metal]] in particular makes abundant use a muted low E string (or lower, if other tunings are used) as a pedal point.

Other examples include [[The Supremes]]' [https://www.youtube.com/watch?v=t3bjMtqpGBw "You Keep Me Hangin' On"] (chorus: octave E's against A, G, and F major chords) and [[John Denver]]'s "[[The Eagle and the Hawk (John Denver song)|The Eagle And The Hawk]]" (intro: top two guitar strings, B & E, against B, A, G, F, and E major chords).<ref>Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p. 77. {{ISBN|978-0-300-09239-4}}.</ref> Also, [[Tom Petty]]'s "[[Free Fallin'|Free Falling]]" and [[Goo Goo Dolls]]' "[[Name (song)|Name]]".<ref>Stephenson (2002), p. 81.</ref>