Parallel keys |

Parallel keys – in the diatonic system of major and minor, a pair of keys of the opposite inclination, having the same composition of the main. steps (the same signs at the key); tonic triads of P. t. include a common major third. Items of t. are in the closest relationship with each other. On the basis of the commonality of the gradation composition, the P. t. can be combined into a parallel-variable mode (see Variable mode). The development of harmony in the 2nd floor. 19th and 20th centuries expanded the system of tonal connections based on the principle of P. t. Emancipation of special diatonic. frets (Dorian, Phrygian, etc.) led some researchers to consider P. t. C Ionian and e Phrygian, C Ionian and d Dorian. Examining D. D. Shostakovich’s modes with lowered steps, Dolzhansky sees (in the 2nd piano sonata) the relation of P. t. between h-moll (with lowered II, IV and VIII steps:

and Es-dur (with elevated II and IV steps:

however, such connections are private, individualized. character. The ratio of P. t. in the combined major-minor and chromatic. systems becomes more complex. So, to the eponymous C-dur-moll P. t. there will be both a-moll (or A-dur-moll) and Es-dur (respectively, Es-dur-moll). Hence the tendency toward the formation of low-thermal chain systems of rotational t.

References: Dolzhansky A.N., On the modal basis of Shostakovich’s compositions, “SM”, 1947, No 4, in collection: Features of D. Shostakovich’s style, M., 1962; Sposobin I. V., Elementary theory of music, M. – L., 1951, 1973; Kholopova V.N., On the theory of Erno Lendvai, in: Problems of Musical Science, vol. 1, M., 1972; Lendvai E., Einführung in die Formen- und Harmonienwelt Bartuk, in: Béla Bartuk. Weg und Werk. Schriften und Briefe, Bdpst, 1957.

Yu. H. Kholopov