Editing Parallel key (section)

{{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|<score sound="1">\new Staff \with { \omit TimeSignature } { <c' e' g'>1 \bar "||" \key c \minor <c' es' g'> }</score>}}
| 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 (music)|tonic]]) are called '''parallel keys''' and are said to be in a '''parallel relationship'''.<ref>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''."</ref><ref>[[Allen Forte|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."</ref> For example, G major and G minor have the same tonic (G) but have different [[mode (music)|mode]]s, so G minor is the parallel minor of G major. This relationship is different from that of [[relative key]]s, 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=<score>
\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) } } >>
</score>
| 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 [[Flat (music)|lowering]] the third, sixth, and seventh [[Degree (music)|scale degrees]], and a minor scale can be transformed to its parallel major by [[Sharp (music)|raising]] those same scale degrees.

In the early nineteenth century, composers began to experiment with freely [[borrowed chord|borrowing chords]] from the parallel key.

In [[rock music|rock]] and [[popular music]], examples of songs that emphasize parallel keys include [[The Grass Roots|Grass Roots]]' "[[Temptation Eyes]]", [[The Police]]'s "[[Every Little Thing She Does Is Magic]]", [[Lipps Inc]]'s "[[Funkytown]]", [[The Beatles]]' "[[Norwegian Wood (This Bird Has Flown)|Norwegian Wood]]," and [[Dusty Springfield]]'s "[[You Don't Have To Say You Love Me]]".<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.48. {{ISBN|978-0-300-09239-4}}.</ref>