List of major/minor compositions
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel 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 notable example. This probably stems from the use of the tierce de picardie used in Medieval and Elizabethan music.
Following are lists of major/minor works (not always called as such). Works in these lists do not necessarily end with a minor chord; several end with a tonally ambiguous open octave or fifth following a passage in a minor key.
Major/minor works retaining the same keynote
Single works and miniatures
- Alkan - Chant d'amour - Chant de mort (G♭ major-F♯ minor)
- Bax - The Devil that Tempted St. Anthony
- Brahms - Rhapsody Op. 119 No. 4 in E flat
- Chopin - Nocturne Op. 32 No. 1 in B (The last chord is wrongly changed to major in many editions.)
- Fibich - Malířské Studie (Studies on Painters), No. 2, Spor Masopustu s Postem (The Fight Between Carnival and Lent) in C
- Heidrich - Variations on "Happy Birthday"
- Lalo - Fantaisie norvégienne in A
- Lecuona - La 32, No. 6 of Siete Danzas Cubanas Tipicas (G♭ major/F♯ minor)
- Mendelssohn - Andante Cantabile e Presto Agitato in B
- Mendelssohn - Capriccio brillante for piano and orchestra in B, Op. 22
- Mendelssohn - Capriccio in E, Op. 118 (1837)
- Mendelssohn - Characteristic Piece Op. 7 No. 7 in E (a rare if not unique example of a "reverse picardy third")
- Mendelssohn - Rondo Capriccioso in E, Op. 14
- Satie - Gymnopédie No. 1 (D)
- A. Scarlatti - Se Florindo e Fedele (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)
- Schumann - No. 17 of Davidsbündlertänze, Opus 6 (B)
- Scriabin - Mazurka in F (1889)
- Soler - Keyboard Sonata R. 6 in F
- Strauss - Don Juan, Op. 20
- Tchaikovsky - Valse-Scherzo Op. 7 in A
Movements from larger works
- Beethoven - Violin Sonata No. 9, "Kreutzer", i (A-a)
- Beethoven - Piano trio No. 6 in E flat major, ii (C-c)
- Catalani - La Wally, "Ebben . . . Ne Andrò Lontana"
- Chausson - Piano Trio in G Minor, iv
- Chausson - Poème de l'amour et de la mer, i (G-g)
- Couperin - Pieces de clavecin, Troisieme livre, "L'enjouée" (G-g)
- Dvořák - Piano Trio ("Dumky") Op. 90 in E minor, v (Movement is in E♭ major-minor)
- Handel - Messiah, "All We Like Sheep" (F-f)
- Lalo - Symphonie espagnole, Opus 21, ii (G-g)
- Lalo - Concerto Russe, Opus 29, i (G-g)
- Lalo - Symphony in G Minor, ii (Scherzo)
- Marais - Sonata à la Marésienne (La Gamme et Autres Morceaux de Simphonie 1723), iii (C-c)
- Mendelssohn - String Quartet Op. 13 in A minor, i (Begins with a slow A major introduction which returns at the end of iv)
- Mendelssohn - Symphony No.5, Op.107 ("Reformation"), i (D-d)
- Mozart - Die Zauberflöte (The Magic Flute), Quintet (Wie? Wie? Wie? Ihr an diesem Schreckensort?), Act II (G-g)
- Poulenc - Concert Champêtre for Harpsichord and Orchestra, iii
- Poulenc - Concerto for Two Pianos and Orchestra, iii
- Sibelius - Symphony No. 4 in A minor, Op. 63, iv
- Vivaldi - Concerto for Strings & Continuo in G, R151 ("Alla Rustica"), i
Multi-movement works
Controversial examples
Major/minor works changing the keynote
- Albéniz - Córdoba, no. 4 of Cantos de España, Opus 232 (F-d)
- Beethoven - String Quartet in e, Op. 59 No. 2 (Rasoumovsky Quartet No. 2), iv (C-e)
- Beethoven - Cello Sonata No. 4 in C, Op. 102 No. 1, i (C-a)
- Berlioz - Requiem (Grande Messe des Morts), Op. 5, viii, Hostias (G-bb)
- Bizet - Carmen - Seguidilla (F#-b)
- Chausson - Poème de l'amour et de la mer (G-d)
- Chausson - Poème de l'amour et de la mer, ii (actually the third movement, counting an unnumbered interlude) (E-d)
- Chopin - Ballade no. 2 (F-a)
- Dvořák - The Noon Witch (C-a)
- Enescu - Cantabile e Presto for Flute and Piano 1904 (Eb-g)
- Handel - Suite for Harpsichord No. 2 in F, HWV 427, i (F-a)
- Handel - Concerto Grosso Op. 3 No. 1 (Bb-g)
- Miriam Hyde - "Marsh Birds" for Flute and Piano (D-b)
- Lalo - Rapsodie norvégienne (A-d)
- Massenet - Piano Concerto (Eb-c)
- Mozart - Die Entführung aus dem Serail (The Abduction from the Seraglio), Aria, "Solche Hergelauf'ne Laffen" (F-a)
- Schubert - Piano Sonata in C, D. 279 (C-a; this sonata lacks a fourth movement after the minuet)
- Schubert - Der Pilgrim, D. 794 (Op. 37 No. 1) (E-c#)
- Schumann - No. 16 of Davidsbūndlertänze (G-b)
- Schumann - Réplique, No. 8 of Carnaval (Bb-g)
- Schumann - Kreisleriana, No. 4 (Bb-d) (First edition. Second ends on a D major chord)
- Tchaikovsky - Piano Trio in A minor, Op. 50, ii (E-a) (The final variation begins in A major and ends with a coda in A minor)
- Tchaikovsky - The Sleeping Beauty - Finale and Apotheosis (D-g)
See also