Parallel and counter parallel: Difference between revisions

Revision as of 22:40, 3 February 2020

Revision as of 15:28, 30 March 2020

Line 11:

'''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. In C dur entstehen so scheinbar der A moll-Akkord (Tp, d. h. Parallelklang der Tonika, Tonikaparallele), D moll-Akkord (SP) und Emoll-Akkord (DP).'' (literally: "The sixth of the major chord and the inferior sixth of the minor chord, subsitutingsubstituting for the fifth when it is absent, produce the substituting ''Parallelklang'' for the correpondingcorresponding chord in the tonality. In C major in this way arise the apparent A minor chord (Tp, that is the "parallel" chord of the tonic), D minor chord (Sp), and E minor chord (Dp).")</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}}.

Line 64:

==Counter parallel==

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

{{refimprovemore citations needed 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, literally: "[[leading-tone]] changing sounds"), sometimes called ''gegenklang'' or "contrast chord", abbreviated Tl in major and tL in minor ,<ref name="Gjerdingen"/>, or, in German literature, abbreviated Tg in major and tG in minor (standing for "Gegenklang" or "Gegenparallel"){{citation needed|date=February 2020}}. If chords may be formed by raising (major) or lowering (minor) the fifth a whole step ["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''.

{| class="wikitable"