Major/minor (tonal structure)
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For information on major/minor tonality, see Tonality or Major and minor
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[edit] Explanation
This term is used to refer to a musical composition that begins in a major key and ends in its tonic minor, specifying the keynote (as C major/minor). This is a very unusual form in tonal music, but its opposite (minor/major) is a musical platitude, Beethoven's Symphony No. 5 being perhaps the most famous example. This probably stems from the use of the tierce de picardie used in Medieval and Elizabethan music.
Following is a list of major/minor works (not always called as such):
[edit] List of Works
[edit] Miniatures
- A. Scarlatti - Se Florindo e Fidele (ending changed to major in several editions)
- D. Scarlatti - Keyboard Sonata K. 63 (L. 84) in G ("Capriccio") (ending changed to major in many editions)
- D. Scarlatti - Keyboard Sonata K. 107 (L. 474) in F
- D. Scarlatti - Keyboard Sonata K. 140 (L. 107) in D
- D. Scarlatti - Keyboard Sonata K. 182 (L. 139) in A
- D. Scarlatti - Keyboard Sonata K 206 (L. 257) in E
- D. Scarlatti - Keyboard Sonata K. 297 (L.S. 19) in F
- Schubert - Impromptu Op. 90 No. 2 in E flat
- Schubert - Moment Musical No. 6 in A flat
- Schubert - Tränenregen (No. 10 of Die Schöne Müllerin)
- Schubert - Die Böse Farbe (No. 17 of Die Schöne Müllerin)
- Schubert - Frühlingstraum (No. 11 of Winterreise)
- Mendelssohn - Characteristic Piece Op. 7 No. 7 in E (a rare if not unique example of a "reverse picardy third")
- Chopin - Nocturne Op. 32 No. 1 in B (The last chord is wrongly changed to major in many editions.)
- Schumann - No. 17 of Davidsbündlertänze, Opus 6 (B)
- Brahms - Rhapsody Op. 119 No. 4 in E flat
- Tchaikovsky - Valse-Scherzo Op. 7 in A
- Fibich - Malířské Studie (Studies on Painters), No. 2, Spor Masopustu s Postem (Dispute between Carnival and Fast) in C
- Scriabin - Mazurka in F (1889)
- Lecuona - La 32, No. 6 of Siete Danzas Cubanas Tipicas (Gb major/F# minor)
[edit] Movements from Larger Works
- Vivaldi - Concerto for Strings & Continuo in G, R151 ("Alla Rustica"), i
- Mozart - Die Zauberflöte (The Magic Flute), Quintet (Wie? Wie? Wie? Ihr an diesem Schreckensort?), Act II
- Beethoven - Violin Sonata No. 9, "Kreutzer", i
- Mendelssohn - String Quartet Op. 13 in A, i (Begins with a slow A major introduction which returns at the end of iv)
- Lalo - Symphony in G Minor, ii (Scherzo)
- Sibelius - Symphony No. 4 in a minor, Op. 63, iv
- Dvořák - Piano Trio ("Dumky") Op. 90 in E minor, v (Movement is in Eb major-minor)
- Chausson - Piano Trio in G Minor, iv
- Poulenc - Concert Champêtre for Harpsichord and Orchestra, iii
[edit] Single Works
- Mozart - Piano suite in C major/minor (although it really is incomplete and ends in E flat major)
- Mendelssohn - Introduction and Rondo Capriccioso in E major, Op. 14
- Mendelssohn - Capriccio in E major/minor, Op. 118 (1837)
- Mendelssohn - Andante Cantabile e Presto Agitato in B
- Strauss - Don Juan, Op. 20
[edit] Multi-Movement Works
- Boieldieu - Harp Concerto in C major
- Mendelssohn - Symphony No. 4 in A major, "Italian"
- Brahms - Piano Trio No. 1 in B major, Op. 8 (two versions; 1854 and 1891: both end in B minor)
- Dvořák - Czech Suite in D major, Op. 39
- Alfvén - Symphony No. 2 in D major, Op. 11
[edit] Controversial Examples
- Beethoven - Piano Sonata Op. 109, i and ii (although two separate movements, they are often played together as one)
[edit] Descriptions of Works
The Andante Cantabile and Presto Agitato in B for solo piano was composed by Mendelssohn in 1838, composed for the Musikalisches Album of 1839. The work is divided into two sections: a peaceful, lyrical, flowing introduction in B major, which plunges into an agitated sonata-form allegro in B minor. Two other piano works of Mendelssohn use this form: the the Capriccio in E major/minor of 1837, and the famous Rondo Capriccioso in E Op. 14 (which has a very similar lyrical theme for the introduction). Both sections display the way in which Mendelssohn could use piano textures to create moods and atmospheres.
