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In music, the parallel minor or tonic minor of a particular major key is the minor key with the same tonic; similarly the parallel major has the same tonic as the minor key. For example, G major and G minor have different modes but both have the same tonic, G; so we say that G minor is the parallel minor of G major.

In the early nineteenth century, composers (notably Robert Schumann) began to experiment with freely borrowing chords from the parallel key.

To the Western ear, the switch from a major key to its parallel minor sounds like a fairly simplistic "saddening" of the mood (while the opposite sounds like a "brightening"). This change is quite distinct from a switch to the relative minor.

Flats always appear in the order B-E-A-D-G-C-F. Sharps always appear in the order F-C-G-D-A-E-B.

For example, if there are 3 flats in the key signature, those flats would be B, E, and A. If there are 2 sharps in the key signature, they would be F and C.

• To find the parallel minor of a key, add 3 flats to the key signature.

For example, F major has 1 flat (B). Adding 3 flats would yield 4 flats, meaning F minor consists of B, E, A, and D flat.

B major has 5 sharps (F, C, G, D, A). To find B minor, add 3 flats. Since flats cancel out sharps, one is left with 2 sharps (F and C).

• To find the parallel major, add 3 sharps.

E minor to E major: E minor has 1 sharp (F). Add 3 to get 4 sharps (F, C, G, D).

F minor to F major: F minor has 4 flats (B, E, A, D). Add 3 sharps to get 1 flat (B).

• Relative key
• Harmonic parallelism
• Major/minor (tonal structure)