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In music, a parallel chord (relative chord, German: Parallelklang) is an auxiliary chord derived from one of the primary triads and sharing its function: subdominant parallel, dominant parallel, and tonic parallel. The term is derived from German theory and the writings of Hugo Riemann (see: Riemannian theory).

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

For example the major tonic and tonic parallel and minor tonic and tonic parallel.

Dp stands for Dominant-parallel. The word 'parallel' in German has the meaning of 'relative' in English. G major and E minor are called parallel keys. The G major chord and the E minor chord in the key of C major are called parallel chords in the Riemann system.

— 

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 (but not the counter parallel 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, 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.

Dr. Riemann...sets himself to demonstrate that every chord within the key-system has, and must have, either a Tonic, Dominant or Subdominant function or significance. For example, the secondary triad on the sixth degree 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,' into which the foreign note a is introduced. This, as we have seen, is the explanation which Helmholtz has given of this minor chord."

— Shirlaw 2010

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

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The counter parallel or contrast chord is terminology used in German theory derived mainly from Hugo Riemann to refer to (US:) relative (German: parallel) diatonic functions 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: "leading-tone contrast chords"), abbreviated Tl in major and tL in minor.

Hugo Riemann

— "Dissonance", Musik-Lexikon

Major Leittonwechselklänge, formed by lowering the root a half step.

Minor Leittonwechselklänge, formed by raising the root (US)/fifth (German) a half step.

If chords may be formed by raising (major) or lowering (minor) the fifth a whole step , they may also be formed by lowering (major) or raising (minor) the root a half-step to wechsel, the leading tone or leitton. These chords are Leittonwechselklänge (literally: "leading-tone changing sounds"), sometimes called gegenklang or "contrast chord".

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 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.

See also

• Borrowed chord
• Chord substitution
• Chromatic mediant
• Closely related key
• Enharmonic
• Harmonic parallelism
• List of major/minor compositions
• Subsidiary chord
• Voice leading

Sources

1. ^ Goetschius, Percy and Faisst, Immanuel (1889). The Material Used in Musical Composition, p.139. G. Schirmer.
2. ^ Kober, Thorsten (2003). Guitar Works: A Comprehensive Guide to Playing the Guitar, p.136. ISBN 978-0-634-03123-6.
3. ^ Sebastian Kalamajski (2000). All Aspects of Rock & Jazz, p.35. ISBN 978-87-88619-68-3.
4. ^ Haunschild, Frank (2000). The New Harmony Book, p.47. ISBN 978-3-927190-68-9.
5. ^ Gollin, Edward and Rehding, Alexander; eds. (2011). The Oxford Handbook of Neo-Riemannian Music Theories, p.105. Oxford. ISBN 9780195321333.
6. Gail Boyd de Stwolinski Center for Music Theory Pedagogy (1993). Journal of Music Theory Pedagogy, Volumes 5-7, p.37, n.9. School of Music, The University of Oklahoma.
7. 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.
8. 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). Princeton University Press. ISBN 0-691-09135-8.

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). "Published Papers", Robert Gjerdingen.

v t e Chords
By form	Triad Major Minor Augmented Diminished Suspended Seventh Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh Extended Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster Added / omitted Sixth Augmented sixth Lydian Seven six Specific Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord General Mixed interval Secundal Tertian Quartal Synthetic chord Tetrad
By function	Diatonic Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone / Subtonic Altered Approach Borrowed Chromatic mediant Neapolitan Passing Secondary Secondary dominant Secondary leading-tone Secondary supertonic Other Common Contrast Primary triad Subsidiary Substitute
Techniques	Barre Block Chordioid Chord-scale system Guitar Open Power Slash
Other	Arpeggio Chord names and symbols List of chords Factor

v t e Riemannian theory
Functional harmony Parallel and contrast chords Harmonic dualism Hugo Riemann Klang Neo-Riemannian theory Terzschritt Tonnetz
Handbuch der Harmonielehre Lehrbuch des Contrapunkts

• Chords
• Diatonic functions
• Riemannian theory