Parallel Keys in Music Theory: Major and Minor Relationships
In the world of music theory, the relationship between different scales defines the emotional landscape of a piece. One of the most fundamental concepts is the relationship between parallel keys. When a major scale and a minor scale share the exact same starting note, known as the tonic, they are said to be in a parallel relationship.
For instance, if we look at the note G, G major and G minor both begin on that same tonic. Because they share the same starting point but utilize different modes—the patterns of intervals that define the scale's sound—G minor is identified as the parallel minor of G major.
Parallel vs. Relative Keys
It is common for students of music to confuse parallel keys with relative keys, but the two are distinct. While parallel keys share the same tonic, relative keys share the same set of notes but start on different tonics. A classic example of relative keys is G major and E minor; they use the same notes, but their home bases are different.
| Relationship Type | Shared Element | Differing Element | Example |
|---|---|---|---|
| Parallel | Tonic (Starting Note) | Scale Mode/Notes | G Major & G Minor |
| Relative | Scale Notes | Tonic (Starting Note) | G Major & E Minor |
Transforming Scales Between Parallel Keys
Moving from a major key to its parallel minor, or vice versa, requires specific adjustments to the scale degrees (the numerical position of a note within a scale). To transform a major scale into its parallel minor, a composer must lower the third, sixth, and seventh scale degrees.
Conversely, to shift a minor scale into its parallel major, those same scale degrees—the third, sixth, and seventh—must be raised.
Historical and Modern Application
The use of parallel keys has evolved significantly over time. In the early nineteenth century, composers began experimenting with a technique called borrowing, where they would freely incorporate chords from the parallel key to add harmonic variety and emotional depth to their compositions.
This technique remains prevalent in rock and popular music today. Several iconic songs emphasize the use of parallel keys to create their unique sound, including:
- "Norwegian Wood" by The Beatles
- "Every Little Thing She Does Is Magic" by The Police
- "Funkytown" by Lipps Inc
- "Temptation Eyes" by Grass Roots
- "You Don't Have To Say You Love Me" by Dusty Springfield
Key Facts
- Parallel keys share the same tonic (starting note).
- G major and G minor are an example of parallel keys.
- To turn a major scale into a parallel minor, lower the 3rd, 6th, and 7th degrees.
- To turn a minor scale into a parallel major, raise the 3rd, 6th, and 7th degrees.
- Parallel keys differ from relative keys, which share notes but not the tonic.
- Chord borrowing from parallel keys became a common experimental practice in the early 1800s.
Frequently Asked Questions
What is the main difference between parallel and relative keys?
Parallel keys share the same starting note (tonic) but have different notes in their scales. Relative keys share the same notes but have different starting notes.
How do I change a major scale to a parallel minor scale?
You can transform a major scale into its parallel minor by lowering the third, sixth, and seventh scale degrees.
What is a tonic in music theory?
The tonic is the starting note of a scale and serves as the central tonal point or "home" note of the key.
When did composers start borrowing chords from parallel keys?
Composers began experimenting with borrowing chords from parallel keys in the early nineteenth century.
Which popular artists have used parallel keys in their music?
Artists such as The Beatles, The Police, Lipps Inc, Grass Roots, and Dusty Springfield have used songs that emphasize parallel keys.