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[7] For example, G major and D major have four triad chords in common: G major, B minor, D major and E minor. This can be easily determined by a chart similar to the one below, which compares triad qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.
The major third of Pythagorean tuning differed from a just major third by an amount known as syntonic comma, which musicians of the time found annoying. A comma (in musical parlance) is the distance between two tones that are close enough that they share the same name but that are precisely calculated via different proportional spacing ...
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. 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.
A typical example of a piece in binary form has two large sections of roughly equal duration. The first will begin in a certain key, which will often, (but not always), modulate to a closely related key. Pieces in a major key will usually modulate to the dominant, (the fifth scale degree above the tonic).
For example, relative to the key of C major, the key of A minor is the submediant. In a major key, the submediant key is the relative minor. Modulation (change of key) to the submediant is relatively rare, compared with modulation to the dominant in a major key or modulation to the mediant (relative major) in a minor key.
A pair of major and minor scales sharing the same key signature are said to be in a relative relationship. [1] [2] The relative minor of a particular major key, or the relative major of a minor key, is the key which has the same key signature but a different tonic. (This is as opposed to parallel minor or major, which shares the same tonic.)
The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. [5] If the exposition starts in a minor key, it typically modulates to the relative major key. There are many exceptions, especially in the Romantic era.
A very early example appears in the first movement of Haydn's String Quartet in D major, Op. 17 No. 6: the three keys are D major, C major, and A major. (C major is prepared by a modulation to its relative minor A minor, which happens to be the dominant minor of the original key.)