Parallel and counter parallel: Difference between revisions

Revision as of 07:12, 12 March 2018

Revision as of 19:45, 18 May 2019

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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 chordParallel''' (and '''relativeCounter chordparallel''', chords are terms derived from the German: (''Parallelklang'', ''Gegenparallelklang'') to denote what is anmore auxiliaryoften chordcalled derivedin fromEnglish onethe of"relative", and possibly the "counter relative" chords. In [[primaryRiemannian triadtheory|Hugo Riemann's theory]]s, and sharingin itsGerman 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">Haunschild, Frank (2000). ''The New Harmony Book'', p.47. {{ISBN|978-3-927190-68-9}}.</ref> TheRiemann termdefines isthe derivedrelation fromin Germanterms theory andof the writingsmovement of [[Hugoone Riemann]]single (seenote: [[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>}}