Parallel and counter parallel: Difference between revisions

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'''Parallel''' and '''Counter parallel''' chords are terms derived from the German (''Parallelklang'', ''Gegenparallelklang'') to denote what is more often called in English the "relative", and possibly the "counter relative" chords. In [[Riemannian theory|Hugo Riemann's theory]], and in German 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> Riemann defines the relation in terms of the movement of one single note:

{{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}}. The German text, in the 11th edition of Riemann's Musiklexikon, p. 407, reads: ''die Sexte des Durakkords und die Untersexte des Moll-akkordes bei fehlender Quinte (für diese eintretend), ergibt den für den betreffenden Klang innerhalb der Tonart stellvertretenden Parallelklang.'' (literally: "The sixth of the major chord and the inferior sixht of the minor chord, subsituting for the fifth when it is absent, produce the substituting ''Parallelklang'' for the correponding chord in the tonality.")</ref>}}

For example, the major {{audio|Major triad on C.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}}.