|
In music theory, the dominant parallel is terminology used in German theory (Functional harmony) derived mainly from Hugo Riemann. The dominant parallel is abbreviated Dp, in major, and dP, in minor, where a capital letter (e.g. "D") denotes a major chord (the dominant) and a lowercase letter (e.g. "p") denotes a minor chord (its parallel). It is the (US) relative to the dominant and is thus considered to have or fulfill the function of the dominant. The parallel chord (but ''not'' the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third ''down'' from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third ''up'' from the root of the minor chord. Thus, in a major key, where the dominant is a major chord, the dominant parallel will be the minor chord a minor third below the dominant. In a minor key, where the dominant may be a minor chord, the dominant parallel will be the major chord a minor third above the (minor) dominant. In C major:〔Percy Goetschius, Immanuel Faisst (1889). ''The Material Used in Musical Composition'', p.139. G. Schirmer.〕〔Haunschild, Frank (2000). ''The New Harmony Book'', p.47. ISBN 978-3-927190-68-9.〕〔Kober, Thorsten (2003). ''Guitar Works: A Comprehensive Guide to Playing the Guitar'', p.136. ISBN 978-0-634-03123-6.〕〔Sebastian Kalamajski (2000). ''All Aspects of Rock & Jazz'', p.35. ISBN 978-87-88619-68-3.〕 *Dp is E minor, US mediant In C minor:〔〔 *dP is B major, US subtonic ==See also== *Riemannian theory 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dominant parallel」の詳細全文を読む スポンサード リンク
|