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301:, although the practice was used in music centuries earlier. Rousseau argues that âthe remained longer in Church Music, and, consequently, in Picardy, where there is music in a lot of cathedrals and churches,â and âthe term is used jokingly by musiciansâ, suggesting it might have never had an academic basis, a tangible origin, and might have sprung out of idiomatic jokes in France in the first half of the 18th century.
543:, composed in 1722 and 1744 respectively, differ considerably in their application of Picardy thirds, which occur unambiguously at the end of all of the minor-mode preludes and all but one of the minor-mode fugues in the first book. In the second book, however, fourteen of the minor-mode movements end on a minor chord, or occasionally, on a unison. Manuscripts vary in many of these cases.
479:, to exemplify "the range of expression then possible, the subtle variety of inflections of sentiment contained with a well-defined framework". The following passage from the first half of the piece starts in F major, but then, in bar 15, "Turning to the minor mode with a chromatic bass and then back to the major for the cadence adds still new intensity."
368:â (to avoid danger). This would link back to the humorous character of the term, that would have thus been used to mock supposedly cowardly composers who used the Picardy third as a way to avoid the gravity of the minor third, and perhaps the backlash they would have faced from the academic elite and the Church by going against the timeâs scholasticism.
751:" (written not later than 1591). Modern harmonisations of this carol include the famously distinctive finishing major Picardy third in the melody, but the original 1591 harmonisation went much further with this device, including Picardy thirds at seven of the twelve tonic cadences notated, including all three such cadences in its chorus.
615:
519:
567:
518:
614:
591:, Mozart uses the switch from minor to major to considerable dramatic effect: "As the Don disappears, screaming in agony, the orchestra settles in on a chord of D major. The change of mode offers no consolation, though: it is more like the tierce de Picardie, the 'Picardy third' (a famous misnomer derived from
652:
955:"; each verse has a Picardy third in the middle, moving from a major seventh in the second measure to a flat second in the third measure, and finally ending on a major first in the fourth measure. In the song's original key of B minor, this is an A major chord to a C major chord, ending on a B major chord.
616:
566:
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651:
212:'s happy ending. Furthermore, I hypothesize that in gaining this expressive property of happiness or contentment, the picardy third augmented its power as the perfect, most stable cadential chord, being both the most emotionally consonant chord, so to speak, as well as the most musically consonant.
439:
401:
160:
502:
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
220:, "Western composers, expressing the 'rightness' of happiness by means of a major third, expressed the 'wrongness' of grief by means of the minor third, and for centuries, pieces in a minor key had to have a 'happy ending' â a final major chord (the 'tierce de Picardie') or a bare fifth."
400:
913:(1969); the Picardy third lands on the lyric "I found someone to love today". According to Katherine Monk, the Picardy third in this song, "suggests Mitchell is internally aware of romantic love's inability to provide true happiness but, gosh darn it, it's a nice illusion all the same."
159:
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quality: it is the "happy third". ... Since at least the beginning of the seventeenth century, it is no longer enough to describe it as a resolution to the more consonant triad; it is a resolution to the happier triad as well. ... The picardy third is
680:
396:. As a harmonic device, the Picardy third originated in Western music in the Renaissance era. By the early seventeenth century, its use had become established in practice in music that was both sacred (as in the SchĂźtz example above) and secular:
33:
513:
as "showing Christ in his human aspect. Moreover the poignant angularity of the melody, and in particular the sudden turn to the minor, are obvious expressions of pathos, introduced as a portrayal of his
Passion and crucifixion":
885:" ending and resolution. According to Flack: "My classical background made it possible for me to try a number of things with . I changed parts of the chord structure and chose to end on a major chord. wasn't written that way."
335:
is much more ambiguous, because it has the inconvenience of having at least three meanings: âhigh-pitched/trebleâ, âsharpâ as in a sharp blade, and âacuteâ. Considering the definitions also state the term can refer to a nail
610:, 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".
34:
843:
describes the song as starting "in the major key, but from the second bar onward, Mr. Coots seems intent on creating a feverish dream quality tending more to the minor mode" before finally reaching a cadence in the
344:
might be there used to mean "pointy" / âsharpâ. However, not âsharpâ 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
371:
Ultimately, the origin of the name "tierce picarde" will likely never be known for sure, but what evidence there is seems to point towards these idiomatic jokes and proverbs as well as the literal meaning of
240:
585:
Philip
Radcliffe says that the dissonant harmonies here "have a vivid foretaste of Schumann and the way they gently melt into the major key is equally prophetic of Schubert". At the end of his opera
308:, it comes from the Old French word "picart", meaning "pointed" or "sharp" in northern dialects, and thus refers to the musical sharp that transforms the minor third of the chord into a major third.
253:
What makes this a
Picardy cadence is shown by the red natural sign. Instead of the expected B-flat (which would make the chord minor) the accidental gives us a B natural, making the chord major.
617:
521:
569:
654:
1351:
717:
According to James
Bennighof: "Replacing an expected final minor chord with a major chord in this way is a centuries-old techniqueâthe raised third of the chord, in this case G
441:
403:
162:
1018:, ninth edition, completely revised and reset and with many additions to text and illustrations (London and New York: Oxford University Press, 1955), pp. 1027â28.
486:
31:
901:; Ted Gioia sees "the brief resolve into the tonic major in bar four of the melody" as "a clever hook... one of the many interesting twists" in this jazz composition.
681:
797:
speaks of the way "Lennon is harmonised by McCartney in shifting major and minor thirds, resolving on a
Picardy third at the end of the first and second verses".
647:
speaks of the "quintessentially
Schubertian effect in the final verse" of the opening song "Gute Nacht", "as the key shifts magically from minor to major".
1240:
662:
475:
shows how Bach makes use of the fluctuations between minor and major to convey feeling in his music. Rosen singles out the
Allemande from the keyboard
32:
1631:
938:
744:", is based on a French carol from the 17th century or earlier. It is in a minor key, but the final chord is changed to major on the final verse.
1171:
Dictionnaire historique de l'ancien langage françois ou glossaire de l'ancien langage françois depuis son origine jusqu'au siècle de Louis XIV
705:
that are in a minor key almost always end with a
Picardy third. A notable structural employment of this device occurs with the finale of the
1028:
674:, D 940, "ends in an extended Tierce de Picardie". The subtle change from minor to major occurs in the bass at the beginning of bar 103:
1348:
671:
2409:
2075:
1659:
1613:
1538:
1415:
1192:
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595:, 'sharp third'), the major chord that was used to end solemn organ preludes and toccatas in the minor keys in days of old."
923:â (1977) alternates throughout with an accompaniment of "synth swirls: major and minor; itâs basically a version of what
892:
1975:
1687:
155:, and E. The minor third between the A and C of the A minor chord has become a major third in the Picardy third chord.
1572:
1407:
1143:
741:
353:
was also used to refer to a high(er)-pitched note, and a treble sound, thus perfectly explaining the use of the word
1259:, tenth edition, edited by Percy A. Scholes and John Owen Ward (London and New York: Oxford University Press, 1970).
1892:
1802:
989:
897:
727:) in print by Jean-Jacques Rousseau in 1797 ... to express hopefulness might seem unremarkable, or even clichĂŠd."
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965:" (1967) alternates between major and minor keys with the last chord of the outro featuring a Picardy third.
908:
852:
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476:
392:, neither major nor minor thirds were considered stable intervals, and so cadences were typically on open
183:
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as the origin for the
Picardy third, which also seems unlikely considering the possibility that
2292:
2189:
1937:
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784:
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847:
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The switch from minor to major was a device used frequently and to great expressive effect by
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2019:
1927:
1511:
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962:
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434:. Many of Bach's minor key chorales end with a cadence featuring a final chord in the major:
423:
298:
494:
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1795:
1712:
1059:
Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text, with a New Final Chapter
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8:
1882:
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875:(2006), is played in E minor but ends (and ends the album) with a ringing E major chord.
2368:
2333:
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1747:
1707:
976:
972:
774:
239:
128:
1339:
James Bennighof, "The Words and Music of Joni Mitchell", Santa Barbara: Praeger, 2010.
1299:
The Oxford History of Western Music: Music in the Seventeenth and Eighteenth Centuries
1286:
The Oxford History of Western Music: Music in the seventeenth and Eighteenth centuries
178:
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1370:
A Dissertation on the Pageants Or Dramatic Mysteries Anciently Performed at Coventry
1016:: Self-indexed and with a Pronouncing Glossary and Over 1,100 Portraits and Pictures
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2002:
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1452:, second edition, edited by (Oxford and New York: Oxford University Press, 2008):
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is clearly in the key of E minor, and yet ends with a ringing E Major chord."
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145:
containing the notes A, C, and E, a Picardy third ending would consist of an
142:
112:
96:
256:
Listen to the final four measures of "I Heard the Voice of Jesus Say" with (
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1583:
Tom Service (2019) "Riffs, Loops and Ostinati", a programme in the series
777:, is in A minor and resolves to an A major chord at the end of the chorus.
2388:
2383:
2358:
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2080:
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2014:
1955:
1839:
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1400:
Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation
968:
958:
920:
780:
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124:
116:
108:
1619:
Ruff, Lillian M. 1972. "Josquin Des Pres: Some Features of His Motets".
637:
in both his songs and instrumental works. In his book on the song cycle
2378:
2222:
2202:
1965:
1604:
Latham, Alison (ed.). 2002. "Tierce de Picardie (Fr., âPicardy 3rdâ)".
1054:
762:
192:
1235:
Emulation and Inspiration: J. S. Bach's Transcriptions from Vivaldi's
709:, where the motto theme makes its first appearance in the major mode.
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1986:
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859:
840:
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2136:
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754:
702:
422:
Examples of the Picardy third can be found throughout the works of
120:
1138:(Cambridge, Massachusetts: The Belknap Press, 2003), p. 660.
1061:(Ithaca and London: Cornell University Press, 1999), p. 289.
2207:
2141:
1717:
1087:(London and New York: Oxford University Press, 1959), p. 57.
934:
504:
389:
305:
224:
146:
139:
1211:(New Haven and London: Yale University Press, 2010), p. 45.
670:
Susan Wollenberg describes how the first movement of Schubert's
629:
Beethoven, Piano Sonata, Op. 111, first movement concluding bars
621:
Beethoven, Piano Sonata, Op. 111, first movement concluding bars
19:
1654:, sixth edition. Oxford and New York: Oxford University Press.
1650:, and Joyce Bourne Kennedy (eds.). 2012. "Tierce de Picardie".
357:
to designate a chord whose third is higher than it should be.
63:
426:
and his contemporaries, as well as earlier composers such as
227:
device, the Picardy third originated in Western music in the
979:, is in E minor with each chorus ending on an E major chord.
573:
Mozart, Piano Concerto 21, K. 467, slow movement, bars 83â93
533:
From Bach "St Anne" Prelude for Organ, BWV 552, bars 118â130
525:
From Bach "St Anne" Prelude for Organ, BWV 552, bars 118â130
304:
Robert Hall hypothesizes that, instead of deriving from the
1665:
1499:
1402:(Bloomington: Indiana University Press, 1994), p. 39.
1387:
Revolution in the Head: The Beatles Records and the Sixties
723:
rather than G natural, was first dubbed a 'Picardy third' (
69:
1533:(Pahran, Austria: Hardie Grant Books, 2005), p. 388,
1328:
Schubert's Fingerprints: Studies in the Instrumental Works
1187:, eighth edition (Boston: McGraw-Hill, 2009), p. 74.
1155:
Robert A. Hall, Jr., "How Picard was the Picardy Third?",
1100:(Chicago, Illinois: GIA Publications, 2005), p. 166.
581:
Mozart, Piano Concerto 21, K467, slow movement, bars 83â94
1780:
1358:
at the Choral Public Domain Library. Accessed 2016-09-07.
1168:
57:
1621:
The Consort: Annual Journal of the Dolmetsch Foundation
1272:, p. 52. London: British Broadcasting Corporation.
364:" ("to resemble an inhabitant of Picard") which meant â
1123:
https://www.loc.gov/resource/muspre1800.101611/?sp=428
503:
following episode from the St Anne Prelude for organ,
331:
is quite straightforwardâmeaning spiky, pointy, sharpâ
666:
Schubert, "Gute Nacht", piano link to the final verse
546:
While the device was used less frequently during the
60:
66:
54:
1514:
on the 4th fret, so the song sounds in the key of G
360:
Not to be ignored is the existence of the proverb "
340:") (read masonry nail), a pike or a spit, it seems
51:
407:William Byrd, Pavane "The Earl of Salisbury", 1612
311:The few Old French dictionaries in which the word
1222:The Esoteric structure of Bach's ClavierĂźbung III
658:Schubert, "Gute Nacht", piano link to final verse
2432:
1608:. Oxford and New York: Oxford University Press.
1632:The New Grove Dictionary of Music and Musicians
1098:The Liturgical Flutist: A Method Book and More
1796:
1681:
1466:The Jazz Standards: A Guide to the Repertoire
1448:Walter Everett, "Pitch Down the Middle", in
1565:Joni: The Creative Odyssey of Joni Mitchell
1373:(Coventry: Merridew and Son, 1825), p. 116.
598:The fierce C minor drama that pervades the
1803:
1789:
1688:
1674:
1589:https://www.bbc.co.uk/sounds/play/m00022nx
1224:, p. 25. University of Cardiff Press.
490:Bach, Allemande from Partita 1, bars 13â18
1481:(Dover Publications, 1984), pp. 257â258.
1136:The Harvard Dictionary of Music (4th ed.)
787:", from the soundtrack album of the film
498:Bach Allemande from Partita 1, bars 13â18
418:, Pavane "The Earl of Salisbury", 1612 02
1410:. First paperback reprint edition 2004.
1183:Bruce Benward and Marilyn Nadine Saker,
1169:La Curne de Sainte-Palaye, J.B. (1882).
693:Schubert Fantasia in F minor bars 98â106
688:
685:Schubert Fantasia in F minor bars 98â106
676:
672:Fantasia in F minor for piano four-hands
661:
649:
624:
612:
576:
564:
558:, such as the slow movement of Mozart's
528:
516:
493:
481:
452:
436:
410:
398:
238:
173:
157:
18:
1510:The guitar part is played in Em with a
1468:, p. 468. Oxford University Press.
1301:, p. 730. Oxford University Press.
1288:, p. 494. Oxford University Press.
1185:Music in Theory and Practice: Volume II
1096:Denise LaGiglia and Anna Belle O'Shea,
2433:
1784:
1669:
1498:See "Ain't Talkin'" in songs list at
1121:(Amsterdam: M. M. Rey, 1768), p.320.
1029:"How Picard was the "Picardy Third"?"
463:(Jesus, My Joy), BWV 81.7, mm. 12â13.
203:music, the picardy third retains its
1567:(Vancouver: Greystone, 2012) p. 73.
1317:, p. 7 London: Faber and Faber.
550:, examples can be found in works by
730:
297:The term was first used in 1768 by
13:
1598:
111:. This is achieved by raising the
14:
2467:
742:Let All Mortal Flesh Keep Silence
712:
457:Picardy third, in blue, in Bach:
2169:
1431:(: Dover Publications, 1926), .
1389:(London: Pimlico, 2005): p. 119.
1330:, p. 42. London, Routledge.
990:List of major/minor compositions
898:The Blues and the Abstract Truth
600:Allegro con brio ed appassionato
477:Partita No. 1 in B-flat, BWV 825
47:
29:
1643:. London: Macmillan Publishers.
1629:. 2001. "Tierce de Picardie ".
1577:
1557:
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1471:
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1214:
1198:
1177:
883:Killing Me Softly with His Song
234:
166:SchĂźtz "Heu mihi, Domine" from
149:chord containing the notes A, C
1652:The Oxford Dictionary of Music
1162:
1149:
1128:
1111:
1090:
1072:
1048:
1021:
1002:
1:
1606:The Oxford Companion to Music
1014:The Oxford Companion to Music
995:
740:", often sung with the text "
537:Notably, Bach's two books of
1695:
1635:, second edition, edited by
1450:Expression in Pop-Rock Music
376:as high-pitched and treble.
280:) Picardy third (harmony by
7:
1587:, BBC Radio 3, 27 January.
983:
27:(natural minor) progression
10:
2472:
1893:Dominant seventh flat five
1810:
1159:19 (1975): pp. 78â80.
1134:Don Michael Randel (ed.),
927:did for his whole career."
707:Tchaikovsky Fifth Symphony
287:
134:For example, instead of a
95:, is a major chord of the
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2346:
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2278:
2240:
2188:
2178:
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2124:
2038:
2000:
1946:
1863:
1825:
1818:
1703:
1646:Rutherford-Johnson, Tim,
1591:Accessed 29 January 2019.
1554:, Oxford University Press
1550:Gioia, T. (2012, p.402),
1315:Schubert's Winter Journey
1257:Oxford Companion to Music
1173:. Glossarium de Du Cange.
937:instrumental composed by
933:â "Vaquero", This (1961)
736:The Christian hymn tune "
540:The Well-Tempered Clavier
327:â as a definition. While
1500:https://dylanchords.info
769:, and appearing on both
306:Picardy region of France
181:"Heu mihi, Domine" from
99:at the end of a musical
23:Picardy third ending an
2410:Chord names and symbols
1479:Symphonies Nos. 8 and 9
1326:Wollenberg, S. (2011).
1119:Dictionnaire De Musique
1117:Jean-Jacques Rousseau,
975:", from the 1968 album
895:", from the 1961 album
701:era, those of Chopin's
292:
2293:Secondary leading-tone
1270:Mozart Piano Concertos
1268:Radcliffe, P. (1978).
1220:Humphreys, D. (1983).
694:
686:
667:
659:
630:
622:
582:
574:
534:
526:
499:
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379:
250:
214:
188:
171:
82:
38:
1585:The Listening Service
1297:Taruskin, R. (2010).
1084:The Language of Music
692:
684:
665:
657:
628:
620:
580:
572:
532:
524:
497:
489:
456:
449:, BWV 81.7, mm. 12â13
444:
414:
406:
299:Jean-Jacques Rousseau
242:
197:
177:
165:
22:
2298:Secondary supertonic
1713:Backdoor progression
1429:Complete Piano Trios
1233:Butler, H. Joseph. "
907:â "Tin Angel", from
869:, the final song on
827:From Sarah with Love
759:This Wheel's On Fire
362:ressembler le Picard
1209:Music and Sentiment
833:Coots and Gillespie
771:Music From Big Pink
469:Music and Sentiment
282:R. Vaughan Williams
2456:Musical techniques
2369:Chord-scale system
2288:Secondary dominant
1552:The Jazz Standards
1506:2019-09-26 at the
1398:Robert S. Hatten,
1354:2016-09-11 at the
1243:2015-11-29 at the
1157:Current Musicology
977:Odessey and Oracle
973:Time of the Season
853:New World Symphony
790:A Hard Day's Night
775:The Basement Tapes
695:
687:
668:
660:
631:
623:
583:
575:
535:
527:
500:
492:
465:
460:Jesu, meine Freude
451:
420:
409:
388:, such as that of
251:
189:
172:
93:Tierce de Picardie
87:) also known as a
39:
2451:Intervals (music)
2428:
2427:
2342:
2341:
2260:Chromatic mediant
2165:
2164:
2116:Viennese trichord
1778:
1777:
1758:VâIVâI turnaround
1753:iiâVâI turnaround
1660:978-0-19-957810-8
1614:978-0-19-866212-9
1539:978-1-74066-458-5
1427:Johannes Brahms,
1416:978-0-253-21711-0
1193:978-0-07-310188-0
1106:978-1-57999-529-4
1067:978-0-8014-8589-3
837:You Go to My Head
725:tierce de Picarde
682:
655:
618:
570:
560:Piano Concerto 21
522:
510:Clavier-Ăbung III
487:
447:Jesu meine Freude
442:
404:
163:
35:
2463:
2186:
2185:
2173:
1981:
1980:
1938:Harmonic seventh
1908:Diminished major
1823:
1822:
1805:
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1782:
1781:
1769:
1768:
1690:
1683:
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1581:
1575:
1563:Katherine Monk,
1561:
1555:
1548:
1542:
1529:Toby Cresswell,
1527:
1521:
1519:
1518:
1496:
1490:
1477:AntonĂn DvoĹĂĄk,
1475:
1469:
1459:
1453:
1446:
1440:
1425:
1419:
1396:
1390:
1380:
1374:
1365:
1359:
1346:
1340:
1337:
1331:
1324:
1318:
1308:
1302:
1295:
1289:
1279:
1273:
1266:
1260:
1254:
1248:
1247:" (2011), p. 21.
1237:L'estro armonico
1231:
1225:
1218:
1212:
1202:
1196:
1181:
1175:
1174:
1166:
1160:
1153:
1147:
1132:
1126:
1115:
1109:
1094:
1088:
1076:
1070:
1052:
1046:
1045:
1043:
1041:
1025:
1019:
1006:
949:Hall & Oates
868:
829:", final cadence
817:Piano Trio No. 1
731:Notable examples
722:
721:
683:
656:
619:
571:
523:
488:
443:
405:
366:ĂŠviter le danger
319:) appears give â
279:
278:
277:
275:
267:
266:
265:
263:
184:Cantiones Sacrae
168:Cantiones Sacrae
164:
154:
153:
115:of the expected
76:
75:
72:
71:
68:
65:
62:
59:
56:
53:
37:
36:
2471:
2470:
2466:
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2431:
2430:
2429:
2424:
2393:
2338:
2302:
2274:
2236:
2174:
2161:
2152:Synthetic chord
2120:
2091:Northern lights
2056:Complexe sonore
2034:
2020:Augmented sixth
2008:
2006:
1996:
1978:
1977:
1971:Upper structure
1942:
1928:Altered seventh
1923:Augmented minor
1918:Augmented major
1903:Half-diminished
1859:
1814:
1809:
1779:
1774:
1766:
1765:
1699:
1694:
1648:Michael Kennedy
1627:Rushton, Julian
1601:
1599:Further reading
1596:
1595:
1582:
1578:
1562:
1558:
1549:
1545:
1528:
1524:
1516:
1515:
1508:Wayback Machine
1497:
1493:
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1456:
1447:
1443:
1426:
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1397:
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1356:Wayback Machine
1347:
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1334:
1325:
1321:
1309:
1305:
1296:
1292:
1280:
1276:
1267:
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1245:Wayback Machine
1232:
1228:
1219:
1215:
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1199:
1182:
1178:
1167:
1163:
1154:
1150:
1133:
1129:
1116:
1112:
1095:
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1077:
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1053:
1049:
1039:
1037:
1027:
1026:
1022:
1007:
1003:
998:
986:
866:
809:, slow movement
761:", composed by
733:
719:
718:
715:
677:
650:
613:
565:
517:
482:
437:
399:
382:
295:
290:
273:
270:
269:
268:) and without (
261:
258:
257:
237:
158:
151:
150:
127:, as a form of
103:that is either
89:Picardy cadence
50:
46:
30:
28:
17:
16:Musical cadence
12:
11:
5:
2469:
2459:
2458:
2453:
2448:
2443:
2426:
2425:
2423:
2422:
2417:
2415:List of chords
2412:
2407:
2401:
2399:
2395:
2394:
2392:
2391:
2386:
2381:
2376:
2371:
2366:
2361:
2356:
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2337:
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2326:
2321:
2316:
2310:
2308:
2304:
2303:
2301:
2300:
2295:
2290:
2284:
2282:
2276:
2275:
2273:
2272:
2267:
2262:
2257:
2252:
2246:
2244:
2238:
2237:
2235:
2234:
2225:
2220:
2215:
2210:
2205:
2200:
2194:
2192:
2183:
2176:
2175:
2168:
2166:
2163:
2162:
2160:
2159:
2154:
2149:
2144:
2139:
2134:
2132:Mixed interval
2128:
2126:
2122:
2121:
2119:
2118:
2113:
2108:
2103:
2098:
2093:
2088:
2083:
2078:
2073:
2068:
2063:
2058:
2053:
2048:
2042:
2040:
2036:
2035:
2033:
2032:
2027:
2022:
2017:
2011:
2009:
2001:
1998:
1997:
1995:
1994:
1989:
1984:
1973:
1968:
1963:
1958:
1952:
1950:
1944:
1943:
1941:
1940:
1935:
1930:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
1890:
1885:
1880:
1875:
1869:
1867:
1861:
1860:
1858:
1857:
1852:
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1831:
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1820:
1816:
1815:
1808:
1807:
1800:
1793:
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1755:
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1715:
1710:
1704:
1701:
1700:
1693:
1692:
1685:
1678:
1670:
1664:
1663:
1644:
1624:
1617:
1600:
1597:
1594:
1593:
1576:
1556:
1543:
1522:
1491:
1470:
1454:
1441:
1420:
1391:
1375:
1367:Thomas Sharp,
1360:
1349:Coventry Carol
1341:
1332:
1319:
1303:
1290:
1274:
1261:
1249:
1226:
1213:
1197:
1176:
1161:
1148:
1127:
1110:
1089:
1071:
1047:
1020:
1000:
999:
997:
994:
993:
992:
985:
982:
981:
980:
966:
963:Happy Together
956:
946:
928:
925:Franz Schubert
914:
902:
893:Stolen Moments
886:
876:
857:
845:
830:
820:
810:
798:
778:
752:
749:Coventry Carol
745:
732:
729:
714:
713:Interpretation
711:
602:movement from
593:tierce picarte
428:Thoinot Arbeau
386:medieval music
381:
378:
294:
291:
289:
286:
246:Ich habe genug
236:
233:
210:absolute music
84:tierce picarde
15:
9:
6:
4:
3:
2:
2468:
2457:
2454:
2452:
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2447:
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2360:
2357:
2355:
2352:
2351:
2349:
2345:
2335:
2332:
2330:
2327:
2325:
2324:Primary triad
2322:
2320:
2317:
2315:
2312:
2311:
2309:
2305:
2299:
2296:
2294:
2291:
2289:
2286:
2285:
2283:
2281:
2277:
2271:
2268:
2266:
2263:
2261:
2258:
2256:
2253:
2251:
2248:
2247:
2245:
2243:
2239:
2233:
2229:
2226:
2224:
2221:
2219:
2216:
2214:
2211:
2209:
2206:
2204:
2201:
2199:
2196:
2195:
2193:
2191:
2187:
2184:
2182:
2177:
2172:
2158:
2155:
2153:
2150:
2148:
2145:
2143:
2140:
2138:
2135:
2133:
2130:
2129:
2127:
2123:
2117:
2114:
2112:
2109:
2107:
2104:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2084:
2082:
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2052:
2049:
2047:
2044:
2043:
2041:
2037:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2012:
2010:
2004:
1999:
1993:
1990:
1988:
1985:
1983:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1953:
1951:
1949:
1945:
1939:
1936:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1914:
1911:
1909:
1906:
1904:
1901:
1899:
1896:
1894:
1891:
1889:
1886:
1884:
1881:
1879:
1876:
1874:
1871:
1870:
1868:
1866:
1862:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1832:
1830:
1828:
1824:
1821:
1817:
1813:
1806:
1801:
1799:
1794:
1792:
1787:
1786:
1783:
1771:
1770:VIIâV cadence
1763:
1759:
1756:
1754:
1751:
1750:
1749:
1746:
1744:
1743:Picardy third
1741:
1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1719:
1716:
1714:
1711:
1709:
1706:
1705:
1702:
1698:
1691:
1686:
1684:
1679:
1677:
1672:
1671:
1668:
1661:
1657:
1653:
1649:
1645:
1642:
1638:
1637:Stanley Sadie
1634:
1633:
1628:
1625:
1622:
1618:
1615:
1611:
1607:
1603:
1602:
1590:
1586:
1580:
1574:
1573:9781553658375
1570:
1566:
1560:
1553:
1547:
1540:
1536:
1532:
1526:
1513:
1509:
1505:
1501:
1495:
1488:
1484:
1480:
1474:
1467:
1463:
1458:
1451:
1445:
1438:
1434:
1430:
1424:
1417:
1413:
1409:
1408:0-253-32742-3
1405:
1401:
1395:
1388:
1384:
1383:Ian MacDonald
1379:
1372:
1371:
1364:
1357:
1353:
1350:
1345:
1336:
1329:
1323:
1316:
1312:
1311:Ian Bostridge
1307:
1300:
1294:
1287:
1283:
1278:
1271:
1265:
1258:
1253:
1246:
1242:
1239:
1238:
1230:
1223:
1217:
1210:
1206:
1205:Charles Rosen
1201:
1194:
1190:
1186:
1180:
1172:
1165:
1158:
1152:
1145:
1144:0-674-01163-5
1141:
1137:
1131:
1124:
1120:
1114:
1107:
1103:
1099:
1093:
1086:
1085:
1080:
1075:
1068:
1064:
1060:
1056:
1051:
1036:
1035:
1030:
1024:
1017:
1015:
1010:
1009:Percy Scholes
1005:
1001:
991:
988:
987:
978:
974:
970:
967:
964:
960:
957:
954:
950:
947:
944:
940:
939:George Tomsco
936:
932:
931:The Fireballs
929:
926:
922:
918:
915:
912:
911:
906:
905:Joni Mitchell
903:
900:
899:
894:
890:
889:Oliver Nelson
887:
884:
880:
879:Roberta Flack
877:
874:
873:
865:
864:Ain't Talkin'
861:
858:
855:
854:
849:
846:
842:
838:
834:
831:
828:
824:
821:
818:
814:
811:
808:
807:
806:Hammerklavier
802:
799:
796:
795:Ian MacDonald
792:
791:
786:
782:
779:
776:
772:
768:
764:
760:
756:
753:
750:
747:(Unknown) â "
746:
743:
739:
735:
734:
728:
726:
710:
708:
704:
700:
691:
675:
673:
664:
648:
646:
645:Ian Bostridge
642:
641:
636:
627:
611:
609:
605:
601:
596:
594:
590:
589:
579:
563:
561:
557:
553:
549:
548:Classical era
544:
542:
541:
531:
515:
512:
511:
506:
496:
480:
478:
474:
473:Charles Rosen
470:
462:
461:
455:
448:
435:
433:
429:
425:
417:
413:
397:
395:
391:
387:
377:
375:
369:
367:
363:
358:
356:
352:
348:
343:
339:
334:
330:
326:
322:
318:
314:
309:
307:
302:
300:
285:
283:
276:
264:
254:
249:
247:
241:
232:
230:
226:
221:
219:
216:According to
213:
211:
206:
202:
196:
194:
186:
185:
180:
176:
169:
156:
148:
144:
141:
138:ending on an
137:
132:
130:
126:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
85:
80:
74:
44:
43:Picardy third
26:
21:
2228:Leading-tone
2005: /
1992:Tone cluster
1873:Leading-tone
1742:
1651:
1641:John Tyrrell
1630:
1620:
1605:
1584:
1579:
1564:
1559:
1551:
1546:
1530:
1525:
1494:
1478:
1473:
1465:
1457:
1449:
1444:
1428:
1423:
1399:
1394:
1386:
1378:
1369:
1363:
1344:
1335:
1327:
1322:
1314:
1306:
1298:
1293:
1285:
1282:Taruskin, R.
1277:
1269:
1264:
1256:
1252:
1236:
1229:
1221:
1216:
1208:
1200:
1184:
1179:
1170:
1164:
1156:
1151:
1135:
1130:
1118:
1113:
1097:
1092:
1082:
1079:Deryck Cooke
1074:
1058:
1050:
1038:. Retrieved
1032:
1023:
1012:
1004:
943:Norman Petty
917:Donna Summer
909:
896:
872:Modern Times
871:
851:
823:Sarah Connor
804:
788:
785:I'll Be Back
724:
716:
696:
669:
638:
632:
608:Piano Sonata
599:
597:
592:
588:Don Giovanni
586:
584:
545:
538:
536:
508:
501:
468:
467:In his book
466:
458:
446:
445:J. S. Bach,
421:
416:William Byrd
383:
373:
370:
365:
361:
359:
354:
350:
346:
341:
337:
332:
328:
324:
320:
316:
312:
310:
303:
296:
255:
252:
245:
235:Illustration
222:
218:Deryck Cooke
215:
204:
201:instrumental
198:
191:Philosopher
190:
182:
167:
133:
123:to create a
92:
88:
83:
42:
40:
2213:Subdominant
2076:Grandmother
1933:Nondominant
1913:Minor-major
969:The Zombies
959:The Turtles
921:I Feel Love
781:The Beatles
640:Winterreise
229:Renaissance
125:major triad
117:minor triad
2435:Categories
2347:Techniques
2334:Substitute
2329:Subsidiary
2265:Neapolitan
2223:Submediant
2203:Supertonic
1976:Dominant 7
1966:Thirteenth
1898:Diminished
1850:Diminished
1748:Turnaround
1708:Andalusian
1623:28:106â18.
1531:1001 Songs
1487:048624749X
1437:048625769X
1055:Peter Kivy
996:References
763:Rick Danko
562:, K. 467:
424:J. S. Bach
205:expressive
193:Peter Kivy
129:resolution
2364:Chordioid
2280:Secondary
2096:Petrushka
2030:Seven six
1987:Polychord
1855:Suspended
1845:Augmented
1462:Gioia, T.
1040:2 January
860:Bob Dylan
841:Ted Gioia
819:, scherzo
801:Beethoven
767:Bob Dylan
703:nocturnes
643:, singer
604:Beethoven
432:John Blow
109:minor key
2441:Cadences
2405:Arpeggio
2319:Contrast
2255:Borrowed
2250:Approach
2232:Subtonic
2218:Dominant
2190:Diatonic
2181:function
2137:Secundal
2039:Specific
1979:♯
1961:Eleventh
1948:Extended
1888:Dominant
1767:♭
1697:Cadences
1517:♯
1504:Archived
1464:(2012).
1352:Archived
1313:(2015).
1284:(2010).
1241:Archived
1034:ProQuest
984:See also
953:Maneater
856:, finale
755:The Band
720:♯
699:Romantic
635:Schubert
606:'s last
248:, BWV 82
225:harmonic
199:Even in
152:♯
121:semitone
107:or in a
2270:Passing
2242:Altered
2208:Mediant
2147:Quartal
2142:Tertian
2125:General
2111:Tristan
2106:So What
2066:Elektra
2007:omitted
1865:Seventh
1819:By form
1733:Landini
1728:English
1723:Corelli
1718:Cadenza
1011:(ed.),
935:Tex-Mex
738:Picardy
697:In the
505:BWV 552
390:Machaut
374:picarde
355:picarde
329:piquant
325:piquant
317:picarde
288:History
195:writes:
147:A major
140:A minor
136:cadence
101:section
25:Aeolian
2446:Chords
2420:Factor
2374:Guitar
2314:Common
2157:Tetrad
2101:Psalms
2086:Mystic
2071:Farben
2051:Bridge
2025:Lydian
1812:Chords
1738:Lydian
1658:
1612:
1571:
1537:
1520:minor.
1485:
1435:
1414:
1406:
1191:
1142:
1104:
1065:
910:Clouds
848:DvoĹĂĄk
844:major.
813:Brahms
556:Mozart
394:fifths
347:picart
315:(fem.
313:picart
187:, 1625
179:SchĂźtz
170:, 1625
79:French
2398:Other
2389:Slash
2384:Power
2359:Block
2354:Barre
2307:Other
2198:Tonic
2081:Magic
2061:Dream
2046:Alpha
2015:Sixth
2003:Added
1956:Ninth
1883:Minor
1878:Major
1840:Minor
1835:Major
1827:Triad
552:Haydn
507:from
243:From
231:era.
223:As a
143:chord
119:by a
113:third
105:modal
97:tonic
2379:Open
1656:ISBN
1639:and
1610:ISBN
1569:ISBN
1535:ISBN
1512:capo
1483:ISBN
1433:ISBN
1412:ISBN
1404:ISBN
1189:ISBN
1140:ISBN
1102:ISBN
1063:ISBN
1042:2021
941:and
773:and
765:and
554:and
430:and
351:aigu
342:aigu
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