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 Hugo Riemann's theory, and in German theory more generally, these chords share the function of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel.Haunschild, Frank (2000). ''The New Harmony Book'', p.47. . Riemann defines the relation in terms of the movement of one single note: For example, the major and and minor and . :The tonic, subdominant, and dominant chords, in root position, each followed by its parallel. The parallel is formed by raising the fifth a whole tone. :The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone. The parallel

chord Chord may refer to: * Chord (music), an aggregate of musical pitches sounded simultaneously ** Guitar chord a chord played on a guitar, which has a particular tuning * Chord (geometry), a line segment joining two points on a curve * Chord ( ...

(but ''not'' the

counter parallel 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 Hugo Riemann' ...

chord) of a major chord will always be the minor chord whose 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 Key or The Key may refer to: Common meanings * Key (cryptography), a piece of information that controls the operation of a cryptography algorithm * Key (lock), device used to control access to places or facilities restricted by a lock * Key (map ...

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

Counter parallel

The "counter parallel" or "contrast chord" is terminology used in German theory derived mainly from Hugo Riemann to refer to (US:)

relative Relative may refer to: General use *Kinship and family, the principle binding the most basic social units society. If two people are connected by circumstances of birth, they are said to be ''relatives'' Philosophy *Relativism, the concept that ...

(German: parallel)

diatonic function In music, function (also referred to as harmonic function) is a term used to denote the relationship of a chord"Function", unsigned article, ''Grove Music Online'', . or a scale degree to a tonal centre. Two main theories of tonal functions ex ...

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, or, in German literature, abbreviated Tg in major and tG in minor (standing for "Gegenklang" or "Gegenparallel"). 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''. :Major Leittonwechselklänge, formed by lowering the root a half step. :Minor Leittonwechselklänge, formed by raising the root (US)/fifth (German) a half step. 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 (Am and C share C & E; Em and C share E & G). A chord should be analysed as a Tcp rather than Dp or sP particularly at cadential points, for example at an interrupted cadence, where it substitutes the tonic. It is most easily recognised in a minor key since it creates an ascending semitone step at the end of the cadence by moving from the major dominant chord to the minor counter parallel: Ex. t - s - D - tCp Em - Am - B - C
where C is located a major third below Em Ex. T - S - D - tCp F - Bb - C - Db
where Db is located a major third below the minor tonic Fm In

four-part harmony The term "four-part harmony" refers to music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for ...

, the Tcp usually has a doubled third to avoid consecutive fifths or octaves. This further emphasises its coherency with the tonic, since the third of the minor key counter parallel is the same as the tonic root which thus is doubled. IV-V-I in C

References

External links

Chord Functions
, ''NiklasAndreasson.se''.
“A Guide to the Terminology of German Harmony”
in ''Studies on the Origin of Harmonic Tonality'', pp. xi–xv (Princeton: Princeton Univ. Press, 1990)

''Robert Gjerdingen''. {{Riemannian theory Chords Diatonic functions Riemannian theory de:Parallelklang pt:Notas relativas sv:Funktionsanalys (musik)#Parallellackord

Counter parallel

See also

References

External links