Parallel and counter parallel: Difference between revisions

Revision as of 06:44, 9 February 2017

Revision as of 14:47, 9 February 2017

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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 978-3-927190-68-9.</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 name="Oxford">Gollin, Edward and Rehding, Alexander; eds. (2011). ''The Oxford Handbook of Neo-Riemannian Music Theories'', p.105. Oxford. ISBN 9780195321333.</ref>}}

For example, the major {{audio|C major triad.mid|tonic}} and {{audio|Minor chord on A.mid|tonic parallel}} and minor {{audio|Minor chord on C.mid|tonic}} and {{audio|Eb major triad.mid|tonic parallel}}.

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{{quote|Dp stands for Dominant-parallel. The word '"parallel'" in German has the meaning of '"relative'" in English. G major and E minor are called parallel keys. The G major chord and the E minor chord in the key of C major are called parallel chords in the Riemann system.|<ref>Gail Boyd de Stwolinski Center for Music Theory Pedagogy (1993). ''[[Journal of Music Theory Pedagogy]], Volumes 5-7'', p.37, n.9. School of Music, The University of Oklahoma.</ref>}}

[[Image:Tonic, subdominant, dominant, and their parallels.png|550px|Major T, S, D, and parallels]]

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==Counter parallel==

{{anchor|Counter parallel chord|Contrast chord|Gegenklang|Leittonwechselklange|Leittonwechselklänge|Leading-tone contrast chord}}

{{ref improverefimprove section|date=May 2008}}

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

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

[[Image:Contrast chord example.png|thumb|Contrast chord example {{audio|Contrast chord example.mid|Play}}: C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.]]

The '''"counter parallel'''" or '''"contrast chord'''" is terminology used in German theory derived mainly from Hugo Riemann to refer to (US:) [[relative (music)|relative]] (German: parallel) [[diatonic function]]s and is abbreviated Tcp in major and tCp in minor (Tkp respectively tKp in Riemann's diction). The chord can be seen as the "tonic parallel reversed" and is in a major key the same chord as the dominant parallel (Dp) and in a minor key equal to the subdominant parallel (sP); yet, it has another function. According to Riemann the chord is derived through '''''Leittonwechselklänge''''' (German: "[[leading-tone]] contrast chords"), abbreviated Tl in major and tL in minor.

{{quote|The substitution of the leading tone for the prime (from below [<] in major, from above [>] in minor) likewise results...in the leading-tone change (in C major: T< <nowiki>=</nowiki> E minor, S< <nowiki>=</nowiki> A minor, D< <nowiki>=</nowiki> B minor[!]; in A minor: T> <nowiki>=</nowiki> F major, D> <nowiki>=</nowiki> C major, S> <nowiki>=</nowiki> B major [!].|Hugo Riemann|"Dissonance", ''Musik-Lexikon''<ref name="Oxford"/>}}

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:Minor Leittonwechselklänge, formed by raising the root (US)/fifth (German) a half step.

If chords may be formed by raising (major) or lowering (minor) the fifth a whole step [ [[parallel chord|parallel]] or relative chords], they may also be formed by lowering (major) or raising (minor) the root a [[half-step]] to ''wechsel'', the [[leading tone]] or ''leitton''. These chords are ''Leittonwechselklänge'' (literally: "leading-tone changing sounds"), sometimes called '''''gegenklang''''' or "contrast chord".<ref name="Gjerdingen"/>

For example, Am is the tonic parallel of C, thus, Em is the counter parallel of C. The usual parallel chord in a major key is a minor third below the root and the counter parallel is a major third above. In a minor key the intervals are reversed: the tonic parallel (e.g. Eb in Cm) is a minor third above, and the counter parallel (e.g. Ab in Cm) is a major third below. Both the parallel and the counter parallel have two notes in common with the [[Tonic (music)|tonic]] (Am and C share C & E; Em and C share E & G).

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[[de:Gegenklang]]

[[de:Parallelklang]]

[[pt:Notas relativas]]

[[de:Parallelklang]]

[[sv:Funktionsanalys (musik)#Parallellackord]]