Curt Sheller Harmonic Analysis for Scale Selection and Chord Substitution PDF

The author who, perhaps wanting to be more practical and not as concise as me, does not comment that 'Picardy Third' is the most used feature in all baroque era, especially in the music of 'JS Bach',. It's use is very simple, the music should follow the rule and end with a minor chord, but the it's third becomes major.
As in his 'Toccata and Fugue in D Minor', when the last chord should be 'D minor' and become 'D major'. This discursive feature has a function in music, and it begins in minor tonality with strong and dramatic melodies, as if someone were talking to God, hence the development of the Fuga with all that counterpoint played on the full pipe organ register, which sounds pure 'Heavy Metal' in the Baroque period, as if all the melody was a text or a conversation, when at the end of the song your ear is already fully accustomed to the minor third, it surprises your ears with a major third, as if something was going up to the skies and a communication link was established with God, remember that the major suggests this, the high.

So, next time you listen to this toccata or other Bach pieces, think of the last note, which is a 'Picardy Third', imagine a dark, cloudy sky that opens a small hole in the sky, whose intense light reaches a single point on the earth, which It's the one you're in.

I only see one problem, in the popular music of the twentieth century, there was a rule, which became more a convention, which is to use the seventh in all chords. but this author also says that when using the 'Picardy Third' the seventh also becomes major, perhaps I can inaugurate 'Picardy Seven', otherwise if the seventh remains minor along with 'Picardy Third', we achieve another secondary dominant chord going to the "IV chord". Therefore, this 'major seventh' was only a logical adaptation, and the author should make a quotation about it.

I liked this little book, although I think it a waste of time to use chord symbols, since Roman numerals are something for smart people, through this numerical system it is possible to understand everything quickly.

Whether you are a keyboard player or a guitarist, you should practice daily progressions in all tonalities until you close module 12.
1º With the seventh and all it's inversions, then only 3rd and 7th
2º With the ninths inversions and redistribution of chord voices.
3º With the 13ths etc.

Once you have done all this, your fingers will go it alone in the progressions, of course you will be playing and understand everything. I met many professional guitar teachers that, as long as the student does not finish all these, which takes from 3 to 6 months, their pupils will not play any music.