# Kind of parallel clay/tone

as kinds of parallel clay/tone one designates the Dur - and Moll - in each case in the music theory kinds of clay/tone, which possess the same signs and therefore the same clay/tone supply use. An overview of the individual kinds of parallel clay/tone supplies the Quintenzirkel.

Example: D major and h-Moll possess the same signs (two ♯: Fis and Cis). One says:

kinds of parallel clay/tone is always third-related kinds of clay/tone (H is deeper a small third than D, and/or. D is higher a small third than H).

The kind of parallel clay/tone one calls taken three-sounds parallel sounds. In the function theory parallel sounds with p become and/or. P characterized, z. B. Tp = Moll parallel of the Dur Tonika, Dp = Moll parallel of the Dur dominant factor, dP = Dur parallel of the Moll dominant factor etc.

A further kind of Dur /Moll relationship are the kinds of variance clay/tone.

## Mollparallele

to each Dur Tonart gives it a Moll Tonart, which uses the same tones. This is called the Mollparallele to the Dur Tonart concerned. Their basic clay/tone always is a small third under the Dur Tonart.

In the Quintenzirkel around the small third calculation is carried for the shift, as the capital letters (Dur) are on the inside rotated outside of the circle exactly around these with the small letters (Moll).

Example:

Dur Tonart Mollparallele
C major A-Moll
G major e-Moll
D major h-Moll

illustration by the example of C-Dur/a-Moll:

Interval - distances of the Dur scale (1 = complete clay/tone, ½ = half-tone):

C D E F G A H C
1 1 ½ 1 1 1 ½

interval distances of the Moll scale (1 = complete clay/tone, ½ = half-tone):

A H C D E F G A
1 ½ 1 1 ½ 1 1

comparison of the two interval samples:

 Moll Dur 1 ½ 1 1 ½ 1 1 1 1 ½ 1 1 1 ½

## Durparallele

the Durparallele is the opposite of a Mollparallele.

In order to count of the Molltonart to the Durparallele, one must use the Durtonart with the same signs. The basic clay/tone lies then a small third more highly (1 ½ clay/tone step). The Durparallele has thereby the same clay/tone material and the same signs. Thus the half-tone steps of Moll (2-3, 5-6) shift on Dur (3-4, 7-8).

In the Quintenzirkel around the small third calculation is carried for the shift, as the capital letters (Dur) are on the inside rotated outside of the circle exactly around these with the small letters (Moll).

Example:

To Moll Tonart Durparallele situation of the half-tone steps
D-Moll F major e-f, A-B
A-Moll C major HC, e-f
e-Moll G major fis g, HC