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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.
Their parallel majors are E major and A major. The mediants of the parallel minor of C major (C minor) are E ♭ major and A ♭ major. Thus, by this conservative definition, C major has four chromatic mediants: E major, A major, E ♭ major, and A ♭ major. There is not complete agreement on the definition of chromatic mediant relationships.
A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some sequences: [2] Mozart Minuet in F, K 5 Mozart Minuet in F K6. The above passage starts in F major and modulates to Bb major and then, via the chord of G, to C major.
Major and minor keys that share the same key signature are relative to each other. For instance, F major is the relative major of D minor since both have key signatures with one flat. Since the natural minor scale is built on the 6th degree of the major scale, the tonic of the relative minor is a major sixth above the tonic of the major scale ...
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 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.