Picardy 3rd

[T-Block]

Does anybody here know what a Picardy 3rd is?  Well, just in case you don't, here is how to play it:

A Picardy 3rd is when you are playing a minor key, and instead of ending on the minor 1 chord, you end with a major chord instead.  That's the reference to the 3rd, you make the minor chord major by raising the 3rd, and vice versa.  The only way it is a true Picardy 3rd is if the song or progression is minor, and the 1 chord is minor, but ends with a major 1.  Did yall get that?  You first have to establish your minor key, then at the end hit em with that major 1.  Let's practice playing Picardy 3rds in the key of C using i-V-I:

"Picardy 3rd"
Key C  LH/RH

Starting from root position

C / C-Eb-G (i)
G / B-D-G (V)
(repeat mulitiple times)

C / C-E-G (I)

Starting from 1st inversion

C / Eb-G-C (i)
G / D-G-B (V)
(repeat mulitiple times)

C / E-G-C (I)

2nd inversion

C / G-C-Eb (i)
G / G-B-D (V)
(repeat mulitiple times)

C / G-C-E (I)

Play through these and notice how each one sounds. That major chord at the end brings a feeling of completion and happiness to the minor sounding progression.

Picardy 3rds are used a lot in gospel music.  A good example is the song "Set The Atmoshpere" by Kurt Carr.  That song is in the key of Dm and all through the song the Dm chord is established as the 1 chord.  But, at the end they spring that D major chord to give it that "Ahhhh" feeling.   

[Val215]

T-Block, you are so knowledgeable God Bless!

[bishopcole]

Does anybody here know what a Picardy 3rd is?  Well, just in case you don't, here is how to play it:

A Picardy 3rd is when you are playing a minor key, and instead of ending on the minor 1 chord, you end with a major chord instead.  That's the reference to the 3rd, you make the minor chord major by raising the 3rd, and vice versa.  The only way it is a true Picardy 3rd is if the song or progression is minor, and the 1 chord is minor, but ends with a major 1.  Did yall get that?  You first have to establish your minor key, then at the end hit em with that major 1.  Let's practice playing Picardy 3rds in the key of C using i-V-I:

"Picardy 3rd"
Key C  LH/RH

Starting from root position

C / C-Eb-G (i)
G / B-D-G (V)
(repeat mulitiple times)

C / C-E-G (I)

Starting from 1st inversion

C / Eb-G-C (i)
G / D-G-B (V)
(repeat mulitiple times)

C / E-G-C (I)

2nd inversion

C / G-C-Eb (i)
G / G-B-D (V)
(repeat mulitiple times)

C / G-C-E (I)

Play through these and notice how each one sounds. That major chord at the end brings a feeling of completion and happiness to the minor sounding progression.

Picardy 3rds are used a lot in gospel music.  A good example is the song "Set The Atmoshpere" by Kurt Carr.  That song is in the key of Dm and all through the song the Dm chord is established as the 1 chord.  But, at the end they spring that D major chord to give it that "Ahhhh" feeling.   

T-BLOCK, thank you as usual  for reminding me of this. It has been a long time since I have heard the old P-3rd!! Have you ever heard it called that P-3rd?  Bishop cole

[T-Block]

Have you ever heard it called that P-3rd

Naw, I ain't heard it like that before, but it's the same.

[diverse379]

the first time I heard that was on a song called you dont know like i know what the lord has done for me


well at least that was the first line and they would end the verse on that major chord it had a great sound

thanks for jarring the memory on that one

[sjonathan02]

Hey T-block,


correct me if I'm wrong, but wouldn't a good example of a Picardy Third be found at the end of Kirk Franklin's "Don't Cry" (from his 'Rebirth' CD)?

[elio]

T, well explained.

Here's another example that (I think) explains this stuff (or a very similar concept): "Lord of the Breakthrough" by Israel.
On the second line "(Abmaj7) You are the Lord of the breakthrough, (Bb7) we worship You" the implied key is Ebmaj (or Cmin, its relative minor). If you play those two chords, they'll want to resolve to Cmin (or Eb) - try it!

Instead, the next chord in the progression is C major, the Picardy 3rd. And the cycle goes back again.

[T-Block]

correct me if I'm wrong, but wouldn't a good example of a Picardy Third be found at the end of Kirk Franklin's "Don't Cry" (from his 'Rebirth' CD)?

Yes, that was going to be my other example but, I forgot to type it.  Actually, there are P-3rds all through that song, but it is more noticeable at the end.  The progression for it is 2-5-1-4-7-3-6, and everytime they play that 6, they playing a P-3rd. 

That song and "Set The Atmosphere" was the first 2 songs that came to my mind regarding the P-3rd.

[T-Block]

Here's another example that (I think) explains this stuff (or a very similar concept): "Lord of the Breakthrough" by Israel.
On the second line "(Abmaj7) You are the Lord of the breakthrough, (Bb7) we worship You" the implied key is Ebmaj (or Cmin, its relative minor). If you play those two chords, they'll want to resolve to Cmin (or Eb) - try it!

Instead, the next chord in the progression is C major, the Picardy 3rd. And the cycle goes back again.

Sorry elio, but that's not an example of a true P-3rd cuz that song is in the Key of C.  Let me show you:

C / G-C-E  Lord of the breakthrough,
C / F-Bb-D Lord of the breakthrough,
Ab / Eb-Ab-C You are Lord of the
Bb / F-Bb-D breakthroug, and we
C / G-C-E worship You.

O.k., now let's take out the Ab and Bb chords and talk about them:

Ab / Eb-Ab-C - This chord right here is in the key of Eb, but it doesn't imply Eb.  This chord is actually an Fm7 chord w/out it's root.  Let's rewrite what it should be so you can see it:  F / Eb-Ab-C

Bb / F-Bb-C - This chord right hre is also in the key of Eb, but it doesn't imply Eb.  This chord is actually a Gm7 chord w/out it's root.  Let's rewrite what it should be so you can see it: G / F-Bb-D

Now, let's put it alltogether with the other chords, and you will see that everyting fits in C:

C / G-C-E  Lord of the breakthrough,
C / F-Bb-D Lord of the breakthrough,
Ab / Eb-Ab-C (really: F / Eb-Ab-C) You are Lord of the
Bb / F-Bb-D (really: G / F-Bb-D breakthroug, and we
C / G-C-E worship You.

You see now, I don't know the correct theory term for that, but it has something to do with rootless voicings.  This technique can be found in the song "Thy Loving Kindness" by John P. Kee.  It is at the end of the song where they sing "I will lift up my hands in thy.... Name, ame, ame!"  That name part is the same technique, but it acutally has the root being played.

Does that make sense?  If it doesn't, I'll have to check my theory book to find the exact term for this, or maybe some other theory scholars out there can help me out.

[elio]

This chord is actually an Fm7 chord w/out it's root.  Let's rewrite what it should be so you can see it:  F / Eb-Ab-C
This chord is actually a Gm7 chord w/out it's root.   Let's rewrite what it should be so you can see it: G / F-Bb-D

Does that make sense?

I know what you are saying, maybe I did not find a good example. However, when I said that those two chords (rootless Fm7 and Gm7) imply Eb, I meant the key signature of Eb/Cmin (note that Fmin7 is the ii of Eb and Gmin7 is the iii). So, for that time during the song, you are actually in Eb, you can use the Eb major scale, etc, but then switch from a Cmin ending to a C major one, and you are back in the key of C.

Oh well. It's all good.

[T-Block]

I understood exactly where you was coming from, but I want to make sure other begginers who ain't strong in theory yet don't get confused. From a theoretical standpoint, you would be correct, but from a ear training standpoint, it would be incorrect.  It's all good though, it looks like you know your stuff too.  That's great!!!

[4hisglory]

NIce post.

[Naz-Jaz]

Ah, yes! Good 'ole Picardy!