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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).
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.
Starting from a major chord, for example G major (G–B–D), there are twelve potential goals using a common-tone modulation: G minor, G ♯ minor, B ♭ major, B major, B minor, C major, C minor, D minor, D major, E ♭ major, E major, E minor. [14] Thus common-tone modulations are convenient for modulation by diatonic or chromatic third.
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. —
In the minor mode, a common borrowed chord from the parallel major key is the Picardy third. In the major mode, the most common examples of borrowed chords are those involving the ♭, also known as the lowered sixth scale degree. These chords are shown below, in the key of C major. [8]
Ignoring the root, the scales used for each of these four chords would be B Aeolian (natural minor), B Dorian, C♯ Mixolydian, and E Aeolian, respectively. However, from the perspective of pitch axis theory, we consider all scales to have the B root - so we would say that the progression is B Aeolian, B Dorian, B Lydian, and B Phrygian.
In the recapitulation, the material in the exposition is repeated or paraphrased either in the home key (as by Mozart), or the parallel major of the home key if it is minor (as by Beethoven), although as with the exposition, a different modulation may be used (such as to the mediant in Dvorak's "New World Symphony").
The second Trio in Franz Schubert's Klavierstücke in E-flat major for Piano, D946/2. Schubert's Impromptu in A♭ major actually begins in A♭ minor, though this is written as A♭ major with accidentals. The second movement of Ferdinand Ries' Concerto No. 2 for Piano and Orchestra in E-flat Major, also written as A♭ major with accidentals.