The tone A in the bass becomes the dominant pedal in m.2, at the moment the harmony changes. With the C# in the melody at end of m.1 the listener has strong expectation of D major chord (and D in the bass) in m.2. Repetition of A in the bass line establishes this tone as the pedal. When A in m.2 is recognized as a dominant pedal, the D chord above it (the tonic) is a sort of dissonance that has to resolve - in the dominant, in A major harmony. After m.2 the listener does not expect the tonic harmony in m.3, and thus the B in the melody will be felt as being on the way to C#. At the end of m.3 the listener expects the resolution in the tonic. The melody will most certainly provide D, and if the pedal tone resolves, the phrase will be closed. Something like a period could be formed with the next four bars (possibly with descending melody, to bring it back to the starting register). This all does not happen; the pedal is not resolved, and the melodic motif (the theme) finds itself yet an octave higher. Although possible, it is not highly expected that the pedal will resolve in m.6 (this would disturb the proportions and the structure). Finally, in m.8 the pedal is resolved, as expected.
The power of this pedal lays in its implicability, in the listener’s expectation of its termination. The longer this expectation takes place, the more expectation-tension is incited. Each time the tonic chord is expected and the expectation is not realized, the denial-tension is incited. At the moment the expectation is finally realized (m.8), all the (multiplied) tension turns into a positive excitement, as the result of the correct anticipation.
As I have already stated, the power of this pedal is certain extent directly related to the ascending melodic motion. The local events suggest further ascend, which, when realized, creates both satisfaction (correct anticipation) and more tension - the melody is hard to stop. Ascend of the melody takes it further and further away from the pedal. If they were tied with an elastic rope, at which moment would the rope reach its maximum length? Would it then push the melody back with an acceleration, or would it break, letting the melody go own way? These possibilities are style-based and incite more tension. The melody is perceived as more exciting because of the pedal, the pedal as more exciting because of the melody.
This relation is perceptible also in mm.6-7. The melodic movement changes direction, which pulls back the felt acceleration, and prepares the resolution of the pedal. Its energy decreases.
When comparing the effect of these two opening pedals (the tonic in no.3 and the dominant in no.5), we see that the former ‘calms’ the dynamicity of the harmonic progression, while the latter increases the dynamicity of the other lines. The former is a stable foundation, while the latter pushes the movement into an acceleration. This difference could be felt to be in contradiction with the fact that the tonic pedal in no.3 has to deal with the harmony that is dissonant with it both in function and in sonority, and the dominant pedal in no.5 is only functionally dissonant.
Apart from the discussed differences in these two landlers, there is one important similarity, already suggested in the main text (‘Models’): their metric support, characteristic for dances. This rhythmic effect goes simultaneously with the described harmonic effects. As described in the chapter ‘metric support model’, it is based on: 1) the long presence of the pedal, which makes them a kind of constant, 2) simplicity of harmonic progression, which is at the same time predictable, clear enough, and related to folk-drones where the function of the pedal is more sonorous (or rhythmic) than harmonic-functional. The attention of the listener is not focused (mainly) on the tension between the pedal and the other voices.
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 In folk music of some countries (e.g. Hungary) moving the theme to the dominant is a common procedure.
 See the chapter ‘Too long notes’ for the definition.