So, there’s one aspect of Beethoven’s style that I personally, haven’t been able to write convincing examples of. That would be the False Picardy Third. To clarify, this is what I mean by False Picardy Third:
A harmonic motion to the parallel major that sounds like a Picardy Third and is followed by an extensive passage in that key, only to be suddenly switched back to the parallel minor as if to say "You thought I was going to end in major, didn’t you. Well I’m not. I’ll end it in minor."
This is something that Beethoven does often in his minor key pieces, especially those that are in C minor. I could use any work, but to keep things short for the listener, I will use the Pathetique Sonata rondo as an example of the False Picardy Third.
At 2:42, the motion to C major starts. Then at 2:50, C major is confirmed and it lasts until 3:15, when the F#dim7 brings us back to C minor in just 1 chord. This whole section from 2:42 to 3:15 is the False Picardy Third.
Now, I have tried to use this concept myself of the False Picardy Third, but it doesn’t sound convincing when I try to use it. And I’m wondering why. I mean, when I try to use it, I have the motion to the parallel major and the extensive major key passage. I even have the sudden switch back to minor. And yet, Beethoven does it convincingly and I don’t. I can only think of 1 difference between my use and Beethoven’s use. I tend to stray away from the diminished seventh in favor of the dominant seventh in major keys whereas in minor, I often use the diminished seventh as the one and only dominant function chord in a passage.
Could this use of the diminished seventh be so crucial to the False Picardy Third, that trying to use a dominant seventh instead is like trying to use the vi chord as a tonic chord without a preceding modulation to the vi in that it just won’t work in the majority of cases?