Subdominant parallel

In music theory, the subdominant parallel is the relative to the subdominant and is thus considered to have or fulfill the function of the subdominant. The term is derived from German theory and the writings of Hugo Riemann.

Thus in C major the subdominant is F, whose relative key is D-minor (or supertonic of C) and called Sp.^[4] In C minor the relative key of F-minor is A♭ major (or submediant of c) and abbreviated sP.

Sources

^ Percy Goetschius, Immanuel Faisst (1889). The Material Used in Musical Composition, p.139. G. Schirmer.
^ 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.
^ Haunschild, Frank (2000). The New Harmony Book, p.47. ISBN 978-3-927190-68-9.

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[1] Percy Goetschius, Immanuel Faisst (1889). The Material Used in Musical Composition, p.139. G. Schirmer.

[2] Kober, Thorsten (2003). Guitar Works: A Comprehensive Guide to Playing the Guitar, p.136. ISBN 978-0-634-03123-6.

[3] Sebastian Kalamajski (2000). All Aspects of Rock & Jazz, p.35. ISBN 978-87-88619-68-3.

[Harmony-4] Haunschild, Frank (2000). The New Harmony Book, p.47. ISBN 978-3-927190-68-9.

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See also

Sources