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:The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone.
The parallel [[chord (music)|chord]] (but ''not'' the [[#Counter parallel|counter parallel]] chord) of a major chord will always be the minor chord whose [[root (chord)|root]] is a [[minor third]] ''down'' from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third ''up'' from the root of the minor chord. Thus, in a major [[key (music)|key]], where the dominant is a major chord, the dominant parallel will be the minor chord a minor third below the dominant. In a minor key, where the dominant may be a minor chord, the dominant parallel will be the major chord a minor third above the (minor) dominant.
{{quote|Dr. Riemann...sets himself to demonstrate that every chord within the key-system has, and must have, either a Tonic, [[Dominant (music)|Dominant]] or [[Subdominant]] function or significance. For example, the [[primary triad|secondary triad]] on the sixth degree [submediant] of the scale of C major, ''a-c-e'', or rather ''c-e-a'', is a Tonic 'parallel,' and has a Tonic significance, because the chord represents the C major '[[klang (music)|klang]],' into which the foreign note ''a'' is introduced. This, as we have seen, is the explanation which [[Hermann von Helmholtz|Helmholtz]] has given of this minor chord."|Shirlaw 2010<ref>Shirlaw, Matthew (reprinted 2010). ''The Theory of Harmony: An Inquiry Into the Natural Principles of Harmony, With an Examination of the Chief Systems of Harmony from Rameau to the Present Day'', p.401. ISBN 1-4510-1534-8. [http://www.forgottenbooks.org/info/9781451015348]</ref>}}
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