parallel key

{{short description|Major and minor scales with same tonic}}

{{Redirect|Parallel (music)|parallel voices|Melodic motion|parallel chords|Parallel harmony|the concept in Riemannian theory|Parallel and counter parallel|the mechanical component used with turning shafts|Key (engineering)#Parallel keys}}

{{Image frame

| content={{center|\new Staff \with { \omit TimeSignature } { 1 \bar "||" \key c \minor }}}

| caption=Parallel tonic chords on C major (C), and C minor (Cm).

}}

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.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." 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).

{{Image frame|width=600|align=center

| content=

\new ChoirStaff \with { \omit TimeSignature } << \new Staff \relative c' { \time 7/1 c1^\markup{"CM"} d e f g a b c }

\new Staff \relative c' { c1_\markup{"Cm"}^\markup { \hspace #1 \with-dimensions #'(0 . 0) #'(0 . 0) \translate #'(0 . -5) \draw-line #'(0 . 8) } d^\markup { \hspace #1 \with-dimensions #'(0 . 0) #'(0 . 0) \translate #'(0 . -4.5) \draw-line #'(0 . 8) } es f^\markup { \hspace #1 \with-dimensions #'(0 . 0) #'(0 . 0) \translate #'(0 . -3.5) \draw-line #'(0 . 8) } g^\markup { \hspace #1 \with-dimensions #'(0 . 0) #'(0 . 0) \translate #'(0 . -3) \draw-line #'(0 . 8) } aes bes c^\markup { \hspace #1 \with-dimensions #'(0 . 0) #'(0 . 0) \translate #'(0 . -1.5) \draw-line #'(0 . 8) } } >>

| caption=Parallel major {{audio|Major scale on C.mid|Play}} and minor {{audio|Minor scale on C.mid|Play}} scales on C: common notes connected by a vertical line.

}}

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".Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.48. {{ISBN|978-0-300-09239-4}}.