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In music theory, a major scale and a minor scale that have the same starting note are called parallel keys and are said to be in a parallel relationship. [ 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.
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 ...
Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key. In modern music, the closeness of a relation between any two keys or sets of pitches may be determined ...
Sheila Romeo explains that "[i]n theory, any chord from any mode of the scale of the piece is a potential modal interchange or borrowed chord. Some are used more frequently than others, while some almost never occur." [1] In the minor mode, a common borrowed chord from the parallel major key is the Picardy third.
Parallel harmony is frequently used in house music and other electronic music genres. Historically, this resulted from producers sampling chords from soul or jazz and then playing them at different pitches, or using "chord memory" feature from classic polyphonic synthesizers .
However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major. Borrowing from the parallel major in a minor key, however, is much less common. Using the V7 or V chord (V dominant 7, or V major) is typical of most jazz and pop music regardless of whether the key is major or minor.
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