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Picardy third

The Picardy third, also known as the tierce de Picardie in French, is a harmonic convention in Western music theory whereby a piece or section in a minor key concludes with a major tonic chord, achieved by raising the minor third scale degree to a major third.^[1] This device creates a sense of brighter resolution and finality, contrasting the darker tone of the preceding minor harmony without implying a modulation to the parallel major key.^[2] It typically appears at the end of a cadence, substituting a major I chord for the expected minor i chord.^[3] The term "Picardy third" derives its name from the Picardy region in northern France, where many early composers who frequently employed this technique originated during the Renaissance and Baroque periods.^[4] Some scholars propose an alternative etymology from the Old French word picart, meaning "sharp" or "pointed," referring to the sharpened third.^[3] The practice emerged around 1500 in Renaissance music and became particularly prevalent in the Baroque era, often in chorales, motets, and sacred works to evoke a triumphant or hopeful close.^[3] Notable examples include Johann Sebastian Bach's chorale Jesu, meine Freude (BWV 227), where a D-sharp raises the final B-minor cadence to B major, and his French Suite No. 1 in D minor (BWV 812), Sarabande movement.^[1]^[2] Although its usage declined after the Baroque period with the rise of Classical and Romantic styles favoring consistent modal endings, the Picardy third persisted in select compositions, such as Frédéric Chopin's Nocturne in F minor, Op. 48 No. 2, and Antonín Dvořák's Symphony No. 9, "From the New World."^[3] In the 20th century and beyond, it appears in popular music, including The Beatles' "And I Love Her" and "I'll Be Back," demonstrating its enduring appeal for emotional contrast.^[3] Musically, the Picardy third involves borrowing the major third from the parallel major mode to form the major tonic chord, serving to enhance tonal closure while aligning with historical preferences for major sonorities in final resolutions.^[5]

Definition and Illustration

Definition

The Picardy third, also known as tierce de Picardie, is a harmonic convention in which a composition in a minor key concludes with a major tonic chord rather than the expected minor tonic, typically at the final authentic cadence.^[2] This device involves raising the third degree of the minor scale by a semitone to form the major third in the tonic chord, creating an unexpected shift from the prevailing minor mode to a major resolution.^[3] For instance, in a piece in C minor, the final chord alters from C–E♭–G (minor) to C–E–G (major).^[6] The structure often appears in the progression from the dominant (V) to the tonic (i) in minor, where the final i becomes I through this modal mixture.^[2] A basic notational example is the cadence i–V–i in a minor key, resolving instead to I, as the raised third provides closure by borrowing from the parallel major mode.^[3] This differs from the Andalusian cadence, a repeating descending pattern (i–bVI–bVII–V) common in flamenco and popular music that does not necessarily conclude a piece, and the deceptive cadence, which unexpectedly resolves V to vi rather than to the tonic.^[7] It was particularly prevalent in Renaissance and Baroque music.^[6]

Basic Illustration

The Picardy third refers to the use of a major tonic chord at the conclusion of a piece or section in a minor key.^[2]^[8] A basic illustration appears in a simple four-bar phrase in C minor, where the expected minor tonic resolution is replaced by a major one. For instance, the progression might begin with a C minor chord (C–E♭–G), move to F minor (F–A♭–C) for subdominant function, then to G major (G–B–D) as the dominant, and conclude on a C major chord (C–E–G) instead of C minor. This alteration highlights the Picardy third through the raised third degree (E natural), creating an annotated final chord where the E♮ stands out against the prevailing minor tonality.^[2]^[8] Auditorily, this shift introduces an unexpected brightness and sense of uplift at the conclusion, transforming the potentially somber minor resolution into a more affirmative close.^[2]^[8] To compare, a non-Picardy ending in C minor would resolve the same progression to a C minor chord (C–E♭–G), maintaining the darker, introspective quality typical of the minor mode. In contrast, the Picardy version employs the major third (E–G), yielding a brighter, more consonant finale. The following side-by-side notation (in basic lead-sheet format) demonstrates this difference:

Measure	Non-Picardy (C minor ending)	Picardy Third (C major ending)
1	Cm: C–E♭–G	Cm: C–E♭–G
2	Fm: F–A♭–C	Fm: F–A♭–C
3	G: G–B–D	G: G–B–D
4	Cm: C–E♭–G	C: C–E–G (E♮ accidental)

This table simplifies the harmonic structure for clarity, focusing on root-position triads.^[2]^[8] The Picardy third is typically notated using accidentals, such as a natural sign (♮) before the third scale degree (e.g., E♮ in C minor) to raise it from the flat third (E♭) inherent to the minor key, ensuring the major quality emerges precisely at the cadence.^[2]^[9]

Historical Context

Etymology of the Name

The term "Picardy third" derives from the historical region of Picardy in northern France, where the harmonic practice of concluding minor-key pieces with a major tonic chord was particularly prevalent in 16th-century French chansons and church music. The French equivalent, "tierce de Picardie," was first documented by Jean-Jacques Rousseau in his Dictionnaire de musique (1767), who noted that the convention persisted longer in Picardy than in other regions.^[10]^[11] The English term "Picardy third" is a direct translation of the French term.^[12] In this context, "third" specifically denotes the major third interval within the final tonic chord, which replaces the expected minor third to create the effect.^[12] An alternative etymology links the term to the Old French word picart, meaning "sharp" or "pointed," referring to the sharpened third, though this remains speculative.^[10]

Historical Usage and Evolution

The Picardy third emerged as a harmonic practice in Western music during the late Renaissance, around 1500, when composers began concluding minor-mode passages with major tonic triads for a sense of closure. This device appeared in polyphonic works such as motets and masses, particularly in French and English traditions, where it provided a brighter resolution to otherwise somber modal structures. Earliest documented instances can be traced to publications from the early 16th century, reflecting a shift toward more consonant endings in sacred and secular vocal music.^[13] During the Baroque era (17th–18th centuries), the Picardy third reached its peak popularity, becoming a conventional feature in chorales, operas, and other genres for its affirmative and stabilizing effect. In German chorale traditions, it was especially prevalent, with analyses of J.S. Bach's works showing that major tonic cadences outnumbered minor ones by a 10-to-1 ratio in minor-key settings. Italian and French opera composers also employed it routinely to heighten dramatic resolution, countering any notion of it being exclusively French by demonstrating widespread adoption across national schools. This period marked its standardization as a rhetorical tool for emotional uplift at piece endings.^[14]^[15]^[16] By the Classical and Romantic periods (late 18th–19th centuries), usage of the Picardy third declined significantly, as composers favored stricter tonal consistency and authentic minor endings to maintain modal integrity, though it occasionally appeared for ironic or surprising effects. This shift aligned with evolving harmonic norms that prioritized diatonic purity over modal mixture at cadences. In the 20th century, it appeared sporadically in neoclassical compositions, evoking earlier styles amid modernist experimentation. The device's theoretical analysis gained prominence in 19th-century treatises, formalizing its role in harmonic discourse.^[3]^[10]

Theoretical Analysis

Harmonic Structure

The Picardy third typically occurs within an authentic cadence in a minor key, where the dominant chord (V) resolves to the tonic not as the expected minor triad (i) but as a major triad (I) through the raising of the third scale degree. For instance, in C minor, the progression from G major (G-B-D) to C major (C-E-G) introduces the raised third (E natural instead of E flat), creating an unexpected major resolution at the phrase or piece's end. This harmonic shift borrows the major tonic directly from the parallel major key (C major in this case), functioning as a Picardy cadence that emphasizes closure through tonal surprise.^[9]^[2] In terms of functional role, the Picardy third serves as a borrowed chord that enhances the tonic's stability without altering the overall minor-mode context, often appearing only in the final sonority rather than as an intermediate harmony. Voice leading typically involves smooth stepwise motion to the raised third, such as the soprano line ascending by semitone from the minor third to the major third (e.g., E♭ to E in C minor), while avoiding parallel octaves or fifths and minimizing cross-relations between the flat and natural third in adjacent voices. Notationally, this is achieved through an accidental—usually a natural sign (♮) before the third degree if the minor key signature includes flats, or a sharp (#) if needed to raise it explicitly—ensuring the major triad's pitches align with the prevailing key while signaling the modal borrowing.^[9]^[17] The theoretical basis of the Picardy third lies in modal mixture, the practice of borrowing chords or scale degrees from the parallel mode (major in a minor context), which allows the minor tonic triad to adopt the major quality for heightened consonance. This technique traces its roots to Renaissance contrapuntal practices around 1500, where the raised third began appearing in final cadences as thirds gained acceptance in closing sonorities, evolving from modal frameworks toward early tonal harmony. The resolution remains stable because the major triad's symmetric intervals— a perfect fifth enclosing a major third—provide greater acoustic consonance and perceptual finality compared to the minor triad, despite the abrupt modal shift, reinforcing the tonic's hierarchical dominance in tonal theory.^[9]^[18]^[2]

Interpretive Effects

The Picardy third creates a striking emotional contrast by resolving a predominantly minor-key composition on a major tonic chord, shifting from the melancholy or tension associated with the minor mode to a sense of resolution and uplift in the major. This harmonic surprise often evokes feelings of hope or triumph emerging from preceding sorrow, as the major third imparts a brighter, more affirmative close despite the piece's overall somber tone. In some contexts, it can introduce irony, where the unexpected positivity underscores unresolved pathos or bittersweet acceptance.^[19] In sacred music, it often provides a consoling uplift, aligning with themes of redemption in hymn settings and liturgical pieces. In secular contexts, it offers a surprising or uplifting conclusion, heightening dramatic tension through an unanticipated sense of closure or optimism, often used to leave listeners with a lingering emotional elevation rather than despair.^[20] Perceptually, the Picardy third facilitates a resolution of cognitive dissonance by diverging from the expected minor tonic, yet it enhances positive tonal valence, making listeners perceive the ending as happier or more stable than the harmonic context might suggest. Studies indicate that while the raised third may initially seem tonally unfitting, it is not viewed as gloomy; instead, it decouples emotional positivity from strict tonal hierarchy, prompting a reevaluation of the piece's overall key as leaning toward major-like contentment. This effect influences how audiences interpret the music's affective arc, often transforming a minor composition into one that "ends happy" through implicit associations with stability and joy.^[21] In modern theoretical views, such as Schenkerian analysis, the Picardy third is interpreted as facilitating the completion of the Urlinie (fundamental line) in the major mode, providing expressive closure even in structurally open or minor-dominant contexts. This approach sees the major tonic not merely as a surface deviation but as a deeper structural consolation, reversing potential tragic undertones through a narrative of acceptance and linear resolution.^[22]

Applications and Examples

In Classical Music

In the Renaissance period, the Picardy third emerged as a harmonic innovation around 1500, initially appearing sporadically in final cadences of polyphonic works before becoming a standard practice by the late 16th century, even in pieces otherwise set in minor modes. Josquin des Prez employed it more consistently in motets, including the ending of Ave Maria... virgo serena, where the shift to a major triad underscores textual resolution and Marian devotion.^[23] During the Baroque era, the device gained prominence in sacred and choral music, reflecting theological themes of redemption. Johann Sebastian Bach frequently used Picardy thirds in his chorales, as seen in the St. Matthew Passion (BWV 244), where the opening chorus "Kommt, ihr Töchter" in E minor resolves to an E major tonic, symbolizing hope amid suffering, and the chorale "Herzliebster Jesu" employs it to evoke divine mercy. In instrumental works, Bach's Well-Tempered Clavier Prelude No. 6 in D minor (BWV 875/1) concludes with a Picardy third, illustrating its role in providing consonance over dissonance.^[24]^[25] In the Classical period, the Picardy third often served dramatic or ironic purposes, particularly in operatic finales. Wolfgang Amadeus Mozart deployed it for comic and moral effect in Don Giovanni (K. 527), where the Act II damnation scene in D minor abruptly shifts to D major as the protagonist is dragged to hell, signifying triumphant justice and edifying the audience. Joseph Haydn used it similarly in vocal and sacred contexts, such as the Kyrie of his unfinished Requiem in D minor (Hob. XXII:1), where the Picardy third introduces an unexpected ray of light, contrasting the movement's somber pleas. These applications highlight its versatility in balancing tension and release within structured forms.^[26]^[27] Although less prevalent in the Romantic era compared to earlier periods, the Picardy third appeared in poignant vocal works by 19th-century German composers, often for subtle emotional closure. Frédéric Chopin's nocturnes in minor keys, such as Op. 48 No. 1 in C-sharp minor, end with it to infuse melancholy with a glimmer of hope, as the final major triad in the coda transforms despair into tentative serenity. Johannes Brahms incorporated it in lieder like "Kein Haus, keine Heimat" (Op. 94 No. 5), where a plagal cadence resolves to a major tonic in measure 20, emphasizing defiance; "Salamander" (Op. 107 No. 2), concluding in A major after A minor in measure 31 for ironic resolution; and "Mit vierzig Jahren" (Op. 94 No. 1), shifting to B major in measure 41 to evoke heavenly welcome. These instances underscore its selective use for interpretive depth.^[28]^[29] Analyses of prevalence reveal the Picardy third's higher frequency in sacred vocal repertoire, such as hymnals and chorales (e.g., approximately 90% of Bach's minor-key chorales end with it), versus instrumental works, where it appears less routinely for structural variety. In 19th-century German music, overlooked examples in lieder and symphonic movements, like Brahms's, show its persistence in vocal forms for affective contrast, though empirical studies note musicians perceive it as more positively valenced (mean rating 0.46 on a valence scale) than structurally fitting in minor contexts.^[14]^[21]

In Modern Genres

In the 20th and 21st centuries, the Picardy third has become less prevalent in genres favoring modal ambiguity and extended tonality, yet it persists as a tool for emotional contrast and resolution, often through modal mixture where the major tonic triad appears within or at the end of minor-key sections.^[30] This evolution reflects a shift from its Baroque-era frequency to more selective applications, sometimes manifesting as a "permanent Picardy third," where the major third is consistently raised in minor-mode tonic chords throughout a piece, common in non-classical tertial harmony to infuse brightness into otherwise somber progressions.^[31] Musicologist Philip Tagg identifies this as a staple in popular music, altering the expected minor tonic for sustained affective lift without full modal resolution.^[32] In jazz and blues, the Picardy third frequently appears in standards through modal borrowing, providing an uplifting close to minor-key forms like the 12-bar blues, where the final I chord resolves to major despite predominant minor inflections. For instance, in the jazz standard "Alone Together" by Arthur Schwartz and Howard Dietz, the piece in E-flat minor culminates on an E-flat major chord, exemplifying the device's role in creating hopeful closure amid introspective lyrics.^[33] Similarly, "You and the Night and the Music" by Cole Porter employs a Picardy third at its conclusion, a technique that enhances the genre's blend of melancholy and optimism, as the major resolution counters the flattened third typical in blues turnarounds.^[34] Rock and pop music adapt the Picardy third for dramatic or ironic effect, often in verse-chorus structures to heighten emotional peaks. The Beatles' "While My Guitar Gently Weeps" from The White Album (1968) proceeds in A minor but ends on an A major tonic, using the shift to underscore themes of sorrowful reflection with unexpected consolation. Radiohead employs it more ambiguously in tracks like "Exit Music (For a Film)" from OK Computer (1997), where the C minor framework resolves to C major, but the surrounding modal mixture prolongs tension rather than fully resolving it, aligning with the band's exploration of psychological unease.^[35] In 21st-century indie rock, the device sees revival in neoclassical-inflected works, contributing to trends toward hybrid tonality that blends classical resolution with alternative rock's harmonic fluidity, though specific instances remain selective amid prevalent modal interchange.^[36] Film scores occasionally invoke the Picardy third for narrative closure, leveraging its valence-shifting properties to evoke triumph over tension in minor-key cues. Empirical studies confirm that in modern contexts, the raised third enhances perceived positivity (mean valence increase of 0.46 on a Likert scale) compared to diatonic minor resolutions, making it suitable for heroic or redemptive arcs without overt sentimentality.^[19] This interpretive effect persists in contemporary classical compositions by minimalists, where cyclical patterns in minor modes occasionally terminate with major tonics to signify structural completion, though the technique is rarer due to emphasis on repetition over cadential surprise.^[2] Overall, while modal ambiguity has diminished its routine use since the Baroque period, the Picardy third endures in these genres for its capacity to inject hope or irony, as seen in post-2000 pop tracks that borrow it for subtle emotional layering.^[31]

References

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