Picardy third
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A Picardy third (also known as Tierce de Picardie) is a harmonic device used in European classical music.
It refers to the use of a major chord at the end of a musical section in a minor key. This is achieved by raising the third of the expected minor triad to create a major triad. The aural effect of this is unexpected on the ear, and can add a "bittersweet" feeling to the music.
For example, instead of a cadence ending on an A minor chord containing the notes A, C and E, a tierce de Picardie ending would consist of an A major chord containing the notes A, C# and E. Note that the minor third between the A and C of the A minor chord has become a major third in the tierce de Picardie chord.
The Picardy third does not necessarily have to be found at the end of a section — it can be found at any perfect cadence although it may also occur as the final chord in a plagal cadence. There is no such device as the "Inverted" Picardy third, where an expected major chord is replaced by its minor equivalent. (The final sections of some works, for example the first symphony of Samuel Barber certainly end in a way that strongly suggests and then belies an ending in major, but this is not the same thing, even using a Picardy third before the end of the work as part of the dramatic process, but this is not what an inverted Picardy third would be.)
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Example
Here is an example from Johann Sebastian Bach's cantata Ich habe genug (BWV 82.) at a cadence in the right-hand of a realised continuo part.
What makes this cadence a tierce de Picardie is denoted by the red natural sign - instead of the expected B♭ (which would make the chord minor) the accidental gives us a B natural, making the chord major.
History
The use of the Picardy third originated in the 16th century and was used throughout the Renaissance and Baroque eras. Examples can be found throughout the works of J.S. Bach and his contemporaries as well as earlier composers such as Thoinot Arbeau and John Blow.
The idea was mainly rejected by composers in the Classical era for being too 'brash', although examples can be found in works by Joseph Haydn and Mozart; and in the Romantic era, those of Chopin's nocturnes which are in a minor key almost always end in Picardy thirds. The idea was adopted much later by the neoclassical movement.
Scientific explanation
It may be possible for the aural effect of the Picardy third to be described scientifically - a major triad can be found in the 4th, 5th, and 6th harmonics of a major chord, while the minor triad can be found relatively higher in the 5th, 6th, and 7th harmonics of its respective chord. (In the language of the harmonic series, this is equivalent to saying the major chord occupies a lower 'location' in the harmonic series relative to the minor chord.) However, psychoacousticians cannot explain why this difference is perceived by the ear as being more or less "stable".
In addition, the harmonics of the minor chord have a dissonance closer to the fundamental harmonic compared to a major chord which creates more beats. Thus a major chord is more consonant than a minor one, which is interpreted by the human ear as being more "stable".
Use in church music
Music that was written to be performed in a church (especially when composed for the organ) typically has more examples of the Picardy third compared to other genres. This is probably because the impact of the unexpected major chord is greatly magnified due to the buildings' natural reverberation. This effect has been described by some to sound "ethereal" in quality.
A famous example is the last chord of the Coventry Carol.
Interpretation
Performers who subscribe to the ideals of authenticity and wish to perform works accurately usually consult an Urtext edition to ensure that an editor has not added or removed any Picardy thirds -- where a composer has indicated that a Picardy third should be played, it is not considered correct by current authentic performance practice to remove them.
When a composer has not directly indicated a major or minor chord to be played it is occasionally acceptable to add Picardy thirds to a work in the interests of variety, especially in earlier music. This would usually be a decision made by the continuo players in a chamber work. For example, in performances of the 'Rosary' Violin Sonatas by Heinrich Ignaz Biber, many continuo players add variety to the frequent repetitions in movements consisting of variations by adding the occasional Picardy third. However, over-indulgence of this liberty could lead to the structure of the work being diluted.de:Picardische Terz nl:Picardische terts