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[1] [2] For example, G major and G minor have the same tonic (G) but have different modes, so G minor is the parallel minor of G major. This relationship is different from that of relative keys, a pair of major and minor scales that share the same notes but start on different tonics (e.g., G major and E minor).
Parallel keys are the most widely used. They have a square or rectangular cross-section. Square keys are used for smaller shafts and rectangular faced keys are used for shaft diameters over 6.5 in (170 mm) or when the wall thickness of the mating hub is an issue. Set screws often accompany parallel keys to lock the mating parts into place. [3]
Two parallel keys have the same tonic. For example, in both C major and C minor, the tonic is C. However, relative keys (two different scales that share a key signature) have different tonics. For example, C major and A minor share a key signature that feature no sharps or flats, despite having different tonic pitches (C and A, respectively).
Also, since all chords are analyzed as having a tonic, subdominant, or dominant function, with, for instance, in C, A minor being considered the tonic parallel (tP) (US relative), the use of minor mode root chord progressions in major such as A ♭-major–B ♭-major–C-major is analyzed as sP–dP–T, the minor subdominant parallel (see ...
An additional letter P or p indicates that the function is fulfilled by the relative (German Parallel) of its main triad: for instance Tp for the minor relative of the major tonic (e.g., A minor for C major), tP for the major relative of the minor tonic (e.g. E ♭ major for c minor), etc.
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 ...
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In a minor key, the closely related keys are the parallel major, mediant or relative major, the subdominant, the minor dominant, the submediant, and the subtonic. In the key of A minor, when we translate them to keys, we get: A major (I) C major (III) D minor (iv) E minor (v) F major (VI) G major (VII)