In music theory, the subdominant parallel is terminology used in German theory derived mainly from Hugo Riemann, Sp, in major, and sP, in minor, is the (US) relative to the subdominant and is thus considered to have or fulfill the function of the subdominant. Music theory is a field of study that describes the elements of music and includes the development and application of methods for analyzing and composing music, and the interrelationship between the notation of music and performance practice. ... Dr. Hugo Riemann (full name: Karl Wilhelm Julius Hugo Riemann) (July 18, 1849 - July 10, 1919) was a German musicologist. ... In music, the relative minor of a particular major key (or the relative major of a minor key) is the key which has the same key signature but a different tonic, as opposed to parallel minor or major, respectively. ... In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. ...
In music theory, the subdominant chord is symbolized by the Roman numeral IV if it is within the major mode (because it is a major triad, for example F-A-C in C major) or iv if it is within the minor mode (because it is a minor triad, for example F-Ab-C in C minor).
A cadential subdominant chord followed by a tonic chord (the chord of the key of the piece) produces the so-called "plagal" (or "Amen") cadence.
In sonata form, the subdominant key plays a subordinate though still crucial role: typically, in the recapitulation, there is a section written in the subdominant key, occurring at the point corresponding to the location in the exposition where the music modulated into the dominant key.
Subdominant sixth Another fairly often used chord is the major sixth on the 4th degree, the subdominant sixth (f a c d) which is noted as IV6 when the fifth is not present and as IV56 (5 below 6) if the fifth is present.
TONIC PARALLEL On the sixth degree of the scale is the parallel minor of the tonic.
DOMINANT PARALLEL On the third degree of the scale is the parallel minor of the dominant.