Editing Picardy third (section)

==Notable examples==
* The Christian hymn tune "[[Picardy (hymn)|Picardy]]", often sung with the text "[[Let All Mortal Flesh Keep Silence]]", 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.
*(Unknown) – "[[Coventry Carol]]" (written not later than 1591). Modern harmonisations of this carol include the famously distinctive finishing major Picardy third in the melody,<ref>[http://www.cantatedomino.org/cd/musicfiles25/Coventry%20Carol%202%20-%20arr%20Walford%20Davies.pdf Coventry Carol] {{Webarchive|url=https://web.archive.org/web/20160911174759/http://www.cantatedomino.org/cd/musicfiles25/Coventry%20Carol%202%20-%20arr%20Walford%20Davies.pdf |date=2016-09-11 }} at the Choral Public Domain Library. Accessed 2016-09-07.</ref> 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.<ref>Thomas Sharp, [https://books.google.com/books?id=-XJdAAAAcAAJ ''A Dissertation on the Pageants Or Dramatic Mysteries Anciently Performed at Coventry''] (Coventry: Merridew and Son, 1825), p. 116.</ref>
*[[The Band]] – "[[This Wheel's On Fire]]", composed by [[Rick Danko]] and [[Bob Dylan]], and appearing on both ''[[Music from Big Pink]]'' and ''[[The Basement Tapes]]'', is in A minor and resolves to an A major chord at the end of the chorus.
*[[The Beatles]] – "[[I'll Be Back (song)|I'll Be Back]]", from the soundtrack album of the film ''[[A Hard Day's Night (album)|A Hard Day's Night]]''. [[Ian MacDonald]] 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".<ref>[[Ian MacDonald]], ''Revolution in the Head: The Beatles Records and the Sixties'' (London: Pimlico, 2005): p. 119.</ref>
*[[Ludwig van Beethoven|Beethoven]] – ''[[Piano Sonata No. 29 (Beethoven)|Hammerklavier]]'', slow movement<ref>Robert S. Hatten, ''Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation'' (Bloomington: Indiana University Press, 1994), p.&nbsp;39. {{ISBN|0-253-32742-3}}. First paperback reprint edition 2004. {{ISBN|978-0-253-21711-0}}.</ref>
*[[Johannes Brahms|Brahms]] – [[Piano Trio No. 1 (Brahms)|Piano Trio No. 1]], scherzo<ref>Johannes Brahms, ''Complete Piano Trios'' ({{Full citation needed|date=April 2014}}<!--Place of pub. needed.-->: Dover Publications, 1926), {{Page needed|date=April 2014}}. {{ISBN|048625769X}}.</ref>
* [[Wolfgang Amadeus Mozart]] - ''Lacrimosa'' from Requiem in D Minor K.626 (Süssmayr completion) is in the tonic key of D minor, where the final cadence ends on a D Major chord.
*[[Sarah Connor (singer)|Sarah Connor]] – "[[From Sarah with Love]]", final cadence<ref>Walter Everett, "Pitch Down the Middle", in ''Expression in Pop-Rock Music'', second edition, edited by{{Full citation needed|date=September 2016}}<!--Editor's name and inclusive page numbers of Everett's chapter needed.--> (Oxford and New York: Oxford University Press, 2008):{{Page needed|date=September 2016}}<!--Specific page citation needed here.--></ref>
*[[John Frederick Coots|Coots and Gillespie]], "[[You Go to My Head]]". [[Ted Gioia]] 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 major.<ref>[[Ted Gioia|Gioia, T.]] (2012). ''The Jazz Standards: A Guide to the Repertoire'', p.&nbsp;468. Oxford University Press.</ref>
*[[Antonín Dvořák|Dvořák]] – ''[[Symphony No. 9 (Dvořák)|New World Symphony]]'', finale<ref>Antonín Dvořák, ''Symphonies Nos. 8 and 9'' (Dover Publications, 1984), pp. 257–258. {{ISBN|048624749X}}.</ref>
*[[Bob Dylan]] – "[[Ain't Talkin']]{{-"}}, the final song on [[Modern Times (Bob Dylan album)|''Modern Times'']] (2006), is played in E minor but ends (and ends the album) with a ringing E major chord.<ref>See "Ain't Talkin'" in songs list at https://dylanchords.info. {{Webarchive|url=https://web.archive.org/web/20190926125538/http://dylanchords.info/ |date=2019-09-26 }} The guitar part is played in Em with a [[Capo (musical device)|capo]] on the 4th fret, so the song sounds in the key of G{{Music|sharp}} minor.</ref>
*[[Roberta Flack]] – "[[Killing Me Softly with His Song]]" ending and resolution. According to Flack: "My classical background made it possible for me to try a number of things with [the song's arrangement]. I changed parts of the chord structure and chose to end on a major chord. [The song] wasn't written that way."<ref>Toby Cresswell, ''1001 Songs'' (Pahran, Austria: Hardie Grant Books, 2005), p.&nbsp;388, {{ISBN|978-1-74066-458-5}}.</ref>
*[[Oliver Nelson]] – "[[Stolen Moments (Oliver Nelson song)|Stolen Moments]]", from the 1961 album ''[[The Blues and the Abstract Truth]]''; 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.<ref>Gioia, T. (2012, p.402), ''The Jazz Standards'', Oxford University Press</ref> 
*[[Joni Mitchell]] – "Tin Angel", from [[Clouds (Joni Mitchell album)|''Clouds'']] (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."<ref>Katherine Monk, ''Joni: The Creative Odyssey of Joni Mitchell'' (Vancouver: Greystone, 2012) p. 73. {{ISBN|9781553658375}}</ref>
*[[Donna Summer]] – “[[I Feel Love]]” (1977) alternates throughout with an accompaniment of "synth swirls: major and minor; it’s basically a version of what [[Franz Schubert]] did for his whole career."<ref>Tom Service (2019) "Riffs, Loops and Ostinati", a programme in the series ''The Listening Service'', BBC Radio 3, 27 January. https://www.bbc.co.uk/sounds/play/m00022nx Accessed 29 January 2019.</ref>
*[[The Fireballs]] – "Vaquero", This (1961) [[Tex-Mex]] instrumental composed by [[George Tomsco]] and [[Norman Petty]] is clearly in the key of E minor, and yet ends with a ringing E Major chord."
*[[Hall & Oates]] – "[[Maneater (Hall & Oates song)|Maneater]]"; 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.
*[[The Turtles]] – "[[Happy Together (song)|Happy Together]]" (1967) alternates between major and minor keys with the last chord of the outro featuring a Picardy third.
*[[The Zombies]] - "[[Time of the Season]]", from the 1968 album [[Odessey and Oracle]], is in E minor with each chorus ending on an E major chord.
*[[Henryk Górecki]]'s [[Symphony No. 3 (Górecki)|Symphony No. 3 op 36]], also known as the ''Symphony of Sorrowful Songs'', ends in a positive major third contrasting with the preceding greater part of the work.
*[[Pink Floyd]]'s "[[Shine On You Crazy Diamond]]" concludes with a sudden switch to a major key.