Re: Toccata in Dmin


"Matthew Fields" <spam@xxxxxxx> wrote in message
news:DlZYe.217$yb2.141@xxxxxxxxxxxxxxxxxxxxx
> In article <NlYYe.2024$kH3.1732@trnddc01>,
> Steve Latham <llatham@xxxxxxxxxxx> wrote:
>>
>>"bgranat" <granatedit@xxxxxxxxx> wrote in message
>>news:1127496060.783991.93750@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
>>>
>>> If D is in the bass the whole time, aren't they all D chords?
>>
>>Depends on the context Bonnie. Sometimes the bass note becomes a non chord
>>tone called a Pedal Tone (from the long held notes on the Pedal keyboard
>>of
>>organs that were popular in these types of pieces - on ^5 it's called a
>>"Dominant Pedal" - the most common, on ^1 it'a Tonic Pedal (the next most
>>common I'd wager).
>
> But in baroque music, a pedal tone is more often a prolongation of
> a single harmony, with non-harmonic motion in the OTHER voices--a
> device carried forth in church music from its invention at the Cathedral
> of Notre Dame in Paris in the 1200s by the Perotin school.
>

Yeah, but isn't more instructive to not just call it all a D13 chord, say?
It may be expressing a single harmony but surely Bach thought of it as just
sustaining a D note over some "non" D chords knowing ofcourse that its some
sort of D harmony?


I haven't found where a pedal has made that big of a difference in the
"quality" of the chords... in the sense that without the pedal the
progression is usually just/almost as good(but the pedal seems to tie
everything together). To me, but I could be wrong, there are two different
types of pedals(maybe more ofcourse). One being where the pedal occurs by
happenstance and the other by intention. I doubt Bach every used a pedal by
happenstance.. he knows when it is needed and when it is not(I hope ;) and
in this case he knew that it would make the thing sound slightly better
IMO.... ofcourse I actually have no idea but that is my guess ;)


Jon


.

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