Parallel and counter parallel: Difference between revisions

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'''Parallel''' and '''counter parallel''' chords are terms derived from the German (''Parallelklang'', ''Gegenparallelklang'') to denote what is more often called in English the "relative", and possibly the "counter relative" chords. In [[Riemannian theory|Hugo Riemann's theory]], and in German theory more generally, these chords share the [[diatonic function|function]] of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel.<ref name=Harmony>{{cite book |last=Haunschild |first=Frank |year=2000 |title=The New Harmony Book |page=47 |ISBN=978-3-927190-68-9 }}</ref> Riemann defines the relation in terms of the movement of one single note:

{{blockquote|:The substitution of the major sixth for the perfect fifth above in the major triad and below in the minor triad results in the parallel of a given triad. In C&nbsp;major thence arises an apparent A&nbsp;minor triad (Tp, the parallel triad of the tonic, or tonic parallel), D&nbsp;minor triad (Sp), and E&nbsp;minor triad (Dp).|Hugo Riemann|"Dissonance", ''Musik-Lexikon''<ref name=Oxford>{{cite book |editor1-last=Gollin |editor1-first=Edward |editor2-last=Rehding |editor2-first=Alexander |year=2011 |title=The Oxford Handbook of Neo-Riemannian Music Theories |page=105 |publisher=Oxford U.P. |ISBN=9780195321333}}</ref>{{efn|

The German text, in the 11th&nbsp;edition of Riemann's ''Musiklexikon''{{rp|style=ama|p=407}} reads:

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