Subdominant parallel

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The subdominant parallel in the Mozart cadenza

 {\ new PianoStaff << \ new Staff \ with {\ remove "Time_signature_engraver"} {\ cadenzaOn \ clef violin \ key c \ major << {e'2} {g'2} {c''2} >> < <{d '} {f'} {a '} >> << {d'2} {g'2} {b'2} >> << {e'2} {g'2} {c' ' 2} >>} \ addlyrics {T Sp DT} \ new Staff \ with {\ remove "Time_signature_engraver"} {\ clef bass \ key c \ major << {c2} >> << {d} >> << { g, 4} >> << {g4} >> << {c2} >>} >>}

The subdominant parallel is the parallel of the subdominant and can replace it in the cadence . In major keys , the subdominant on the fourth degree is a major chord; their parallel is the minor chord on the 2nd degree (in the basic key of C major : D minor as a parallel to F major, designation Sp). In minor keys , the subdominant on the fourth degree is a minor chord; their parallel is the major chord on the VI. Degree (in the basic key of C minor : A major as a parallel to F minor, designation sP).

The use of the subdominant parallels in major keys occurs frequently. The cadence T-Sp-DT was written by Wolfgang Amadeus Mozart z. B. often used (see Mozart cadenza ). In the minor keys, however, the subdominant parallel is rarely used. The chord on the VI. Level is also the tonic counter- sound in minor keys and appears rather in this function in the fallacy .