Parallel key
As a parallel keys is known in music theory major - and minor - keys , with the same sign are noted. The circle of fifths provides an overview of the parallel keys .
They are called relative keys in English . There is also the term parallel keys in English, but this is the name for variant keys .
| Sign : | 7 ♭ + fes
 |
6 ♭ + ces
 |
5 ♭ + total
 |
4 ♭ + des
 |
3 ♭ + as
 |
2 ♭ + es
 |
1 ♭ b
 |
0 ♭ / ♯ |
1 ♯ f sharp
 |
2 ♯ + c sharp
 |
3 ♯ + g sharp
 |
4 ♯ + dis
 |
5 ♯ + ais
 |
6 ♯ + ice
 |
7 ♯ + his
 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Major keys: | Ces | Ges | Of | As | It | B. | F. | C. | G | D. | A. | E. | H | F sharp | Cis |
| Minor keys: | as | it | b | f | c | G | d | a | e | H | f sharp | cis | g sharp | dis | ais |
Example: D major and B minor have the same accidentals (two ♯ : F sharp and C sharp ). They say:
- B minor is the minor parallel of D major
- D major is the major parallel to B minor
Parallel keys are always keys related to thirds (B is a minor third lower than D, or D is a minor third higher than B).
Triads taken from the parallel key are called parallel sounds . In functional theory , parallel sounds are marked with p or P , e.g. B. Tp = minor parallel of the major tonic , Dp = minor parallel of the major dominant , dP = major parallel of the minor dominant etc.
The relative key to the tonic is also tonic parallel mentioned and characterized according to major and minor Tp or Tp.
Another type of major / minor relationship are the variant keys .
Minor parallel
For each major key there is a minor key that uses the same notes. This is called the minor parallel to the major key in question. Its keynote is always a minor third below the major key.
In the circle of fifths, the shift around the minor third is taken into account, in that the capital letters (major) outside the circle are rotated exactly around them with the small letters (minor) inside.
Examples:
| Major key | Minor parallel |
|---|---|
| C major | A minor |
| G major | E minor |
| D major | B minor |
Illustration using the example of C major / A minor:
Step sequence of the major scale (1 = whole tone , ½ = semitone ):
| C. | D. | E. | F. | G | A. | H | C. | |||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | 1 | ½ | 1 | 1 | 1 | ½ |
Step sequence of the minor scale (1 = whole tone, ½ = semitone):
| A. | H | C. | D. | E. | F. | G | A. | |||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | ½ | 1 | 1 | ½ | 1 | 1 |
Comparison of the two steps:
| minor | 1 | ½ | 1 | 1 | ½ | 1 | 1 | ||
|---|---|---|---|---|---|---|---|---|---|
| major | 1 | 1 | ½ | 1 | 1 | 1 | ½ | ||
Major parallel
The major parallel is the opposite of a minor parallel.
In order to get from the minor key to the major parallel, one must use the major key with the same accidentals. The keynote is then a minor third higher (1 + ½ tone steps). The major parallel thus has the same tonal material and the same accidentals. This shifts the semitones from minor (2–3, 5–6) to major (3–4, 7–8).
In the circle of fifths , the shift around the minor third is taken into account, in that the capital letters (major) outside the circle are rotated exactly around them with the small letters (minor) inside.
Examples:
| Minor key | Major parallel | Position of the semitones |
|---|---|---|
| D minor | F major | ef, from |
| A minor | C major | hc, ef |
| E minor | G major | f sharp-g, hc |