In music theory, a major scale and a minor scale that have the same starting note (tonic) are called parallel keys and are said to be in a parallel relationship.[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).
A major scale can be transformed to its parallel minor by lowering the third, sixth, and seventh scale degrees, and a minor scale can be transformed to its parallel major by raising those same scale degrees.
In the early nineteenth century, composers began to experiment with freely borrowing chords from the parallel key.
In rock and popular music, examples of songs that emphasize parallel keys include Grass Roots' "Temptation Eyes", The Police's "Every Little Thing She Does Is Magic", Lipps Inc's "Funkytown", The Beatles' "Norwegian Wood," and Dusty Springfield's "You Don't Have To Say You Love Me".[3]
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Music Theory: Calculating Parallel Minor Key Signatures
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See also
References
- ^ Benward & Saker (2003). Music in Theory and Practice, Vol. I, p.35. ISBN 978-0-07-294262-0. "A major and a minor scale that have the same tonic note are said to be in parallel relationship."
- ^ Forte, Allen (1979). Tonal Harmony, p.9. 3rd edition. Holt, Rinehart, and Wilson. ISBN 0-03-020756-8. "When a major and minor scale both begin with the same note ... they are called parallel. Thus we say that the parallel major key of C minor is C major, the parallel minor of C major is C minor."
- ^ Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.48. ISBN 978-0-300-09239-4.
This page was last edited on 26 June 2024, at 16:04