Picardy third
However, not “sharp” in the desired sense, the one relating to a raised pitch, but in the sense of a sharp blade, which would thus completely discredit the word picart as the origin for the Picardy third, which also seems unlikely considering the possibility that aigu was also used to refer to a high(er)-pitched note, and a treble sound, thus perfectly explaining the use of the word picarde to designate a chord whose third is higher than it should be."[11] Many passages in Bach's religious works follow a similar expressive trajectory involving major and minor keys that may sometimes take on a symbolic significance.For example, David Humphreys (1983, p. 23) sees the "languishing chromatic inflections, syncopations and appoggiaturas" of the following episode from the St Anne Prelude for organ, BWV 552 from Clavier-Übung III as "showing Christ in his human aspect."[16] The fierce C minor drama that pervades the Allegro con brio ed appassionato movement from Beethoven's last Piano Sonata, Op.111, dissipates as the prevailing tonality turns to the major in its closing bars "in conjunction with a concluding diminuendo to end the movement, somewhat unexpectedly, on a note of alleviation or relief".[18] Susan Wollenberg describes how the first movement of Schubert's Fantasia in F minor for piano four-hands, D 940, "ends in an extended Tierce de Picardie".[citation needed] A notable structural employment of this device occurs with the finale of the Tchaikovsky Fifth Symphony, where the motto theme makes its first appearance in the major mode.
AeolianFrenchsectionminor keyminor triadsemitonemajor triadresolutioncadenceA minorA majorSchützCantiones SacraePeter Kivyinstrumentalabsolute musicDeryck CookeharmonicRenaissanceIch habe genug, BWV 82R. Vaughan WilliamsJean-Jacques RousseauPicardy region of Francemedieval musicMachautfifthsWilliam ByrdJ. S. BachThoinot ArbeauJohn BlowJesu, meine FreudeCharles RosenPartita No. 1 in B-flat, BWV 825BWV 552Clavier-Übung IIIThe Well-Tempered ClavierClassical eraMozartPiano Concerto 21Don GiovanniBeethovenPiano SonataSchubertWinterreiseIan BostridgeFantasia in F minor for piano four-handsRomanticnocturnesTchaikovsky Fifth SymphonyPicardyLet All Mortal Flesh Keep SilenceCoventry CarolThe BandThis Wheel's On FireRick DankoBob DylanMusic From Big PinkThe Basement TapesThe BeatlesI'll Be BackA Hard Day's NightIan MacDonaldHammerklavierBrahmsPiano Trio No. 1Wolfgang Amadeus MozartSarah ConnorFrom Sarah with LoveCoots and GillespieYou Go to My HeadTed GioiaDvořákNew World SymphonyAin't Talkin'Modern TimesRoberta FlackKilling Me Softly with His SongOliver NelsonStolen MomentsThe Blues and the Abstract TruthJoni MitchellCloudsDonna SummerI Feel LoveFranz SchubertThe FireballsTex-MexNorman PettyHall & OatesManeaterThe TurtlesHappy TogetherThe ZombiesTime of the SeasonOdessey and OracleList of major/minor compositionsPercy ScholesThe Oxford Companion to MusicProQuestThe Language of MusicWayback MachineTaruskin, R.Gioia, T.Rushton, JulianThe New Grove Dictionary of Music and MusiciansStanley SadieJohn TyrrellMichael KennedyCadencesAndalusianBackdoor progressionCadenzaCorelliEnglishLandiniLydianTurnaroundii–V–I turnaroundV–IV–I turnaround♭VII–V7 cadenceChordsAugmentedDiminishedSuspendedSeventhDominant