Poulenc Bar 22 to the end

Some fairly traditional melodic ideas

A mixture of diatonic classical harmony and neoclassical ideas such as the use of octatonic scales

Movement through a variety of key centres

While it’s not that common to see Picardy thirds in the middle of a piece, it makes sense to do this when modulating from one key to the next. Pieces that start in a minor key and want to make the transition much smoother will sometimes cadence on the major tonic of the minor key, and then proceed to start a new section on the dominant of the new key.

Most often this takes place when using parallel majors. Ideally, a piece won’t employ too many Picardy thirds as it could give a false sense of conclusion.

With the rest of your time you have in this lesson you should create a series of revision cards or list that identifies each important development by bar from bar 23 to the end. You can then use this to revise for the test on Thursday. If you refer to the annotated score in the revision notes folder I shared with you, you will see that from the start of the B section (bar 23) most of the music falls into 3 or 4 bar sections. These sections should be used as your basis for revision.