Parallel and counter parallel: Difference between revisions

Revision as of 04:20, 9 February 2017

Revision as of 04:23, 9 February 2017

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[[Image:Tonic parallel in C major.png|thumb|Tonic and tonic parallel in C major: CM and Am chords {{audio|Tonic parallel in C major.mid|Play}}.]]

[[Image:Tonic parallel in C minor.png|thumb|Tonic and tonic parallel in C minor: Cm and E{{music|b}}M chords {{audio|Tonic parallel in C minor.mid|Play}}.]]

[[Image:Subdominant parallel in C major.png|thumb|Subdominant and subdominant parallel in C major (Sp): FM and Dm chords.<ref name="Material">Percy Goetschius, Immanuel Faisst (1889). ''The Material Used in Musical Composition'', p.139. G. Schirmer.</ref><ref name="Kober">Kober, Thorsten (2003). ''Guitar Works: A Comprehensive Guide to Playing the Guitar'', p.136. ISBN 978-0-634-03123-6.</ref><ref name="Kalamajski">Sebastian Kalamajski (2000). ''All Aspects of Rock & Jazz'', p.35. ISBN 978-87-88619-68-3.</ref> {{audio|Subdominant parallel in C major.mid|Play}}]]

[[Image:Subdominant parallel in C minor.png|thumb|Subdominant and subdominant parallel in C minor (sP): Fm and A{{music|b}}M chords {{audio|Subdominant parallel in C minor.mid|Play}}.]]

[[Image:Dominant parallel in C major.png|thumb|Dominant and dominant parallel in C major: GM and Em chords {{audio|Dominant parallel in C major.mid|Play}}.]]

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[[Image:Subdominant and supertonic similarity.png|thumb|The similarity between the [[subdominant]] and [[supertonic]] chords is easily seen and heard through the supertonic seventh chord {{audio|Subdominant and supertonic similarity.mid|Play}}.]]

In [[music]], a '''parallel chord''' ('''relative chord''', German: ''Parallelklang'') is an auxiliary chord derived from one of the [[primary triad]]s and sharing its [[diatonic function|function]]: [[subdominant parallel]], [[dominant parallel]] and [[tonic parallel]].<ref name="Harmony">Haunschild, Frank (2000). ''The New Harmony Book'', p.47. ISBN 978-3-927190-68-39.</ref> The term is derived from German theory and the writings of [[Hugo Riemann]] (see: [[Riemannian theory]]).

{{quote|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 major thence arises an apparent A minor triad (Tp, the parallel triad of the tonic, or tonic parallel), D minor triad (Sp), and E minor triad (Dp).|Hugo Riemann|"Dissonance", ''Musik-Lexikon''<ref>Gollin, Edward and Rehding, Alexander; eds. (2011). ''The Oxford Handbook of Neo-Riemannian Music Theories'', p.105. Oxford. ISBN 9780195321333.</ref>}}

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|Sp

|D minor<ref name="Harmony">Haunschild, Frank (2000). ''The New Harmony Book'', p.47. ISBN 978-3-927190-68-9.</ref>

|Supertonic

|sP

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|-

|Dp

|E minor<ref name="Material"/><ref name="Harmony"/><ref name="Kober"/><ref name="Kalamajski"/>

|E minor<ref name="Material">Percy Goetschius, Immanuel Faisst (1889). ''The Material Used in Musical Composition'', p.139. G. Schirmer.</ref><ref name="Harmony">Haunschild, Frank (2000). ''The New Harmony Book'', p.47. ISBN 978-3-927190-68-9.</ref><ref>Kober, Thorsten (2003). ''Guitar Works: A Comprehensive Guide to Playing the Guitar'', p.136. ISBN 978-0-634-03123-6.</ref><ref>Sebastian Kalamajski (2000). ''All Aspects of Rock & Jazz'', p.35. ISBN 978-87-88619-68-3.</ref>

|Mediant

|dP