Parallel and counter parallel: Difference between revisions

Revision as of 03:45, 10 February 2017

Revision as of 15:55, 25 June 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|Goetschius, Percy]] and [[Immanuel Faisst|Faisst, Immanuel]] (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 |978-3-927190-68-9}}.</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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|-

|Tp

|A minor<ref name="Gjerdingen">Gjerdingen, Robert O. (1990). "A Guide to the Terminology of German Harmony", Studies in the Origin of Harmonic Tonality by Dahlhaus, Carl, trans. Gjerdingen (1990), p.xiii. Princeton University Press. {{ISBN |0-691-09135-8}}.</ref>

|[[Submediant]]

|tP

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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>}}

The name "parallel chord" comes from the [[German language|German]] musical theory, where "Paralleltonart" means not "parallel key" but "relative key", and "parallel key" is "Varianttonart".