Sorry, I just realized you also asked about the move from GbM to BbM as well. That’s why it’s the opposite of the parallel move.Īnyway, it’s an extremely cool sound, and it contributes a great deal to the moody effect of the beginning of “Shine on.” P’ is the opposite, because, as you noted in your example, the third stays the same while both the root and fifth move by a half step. This means the root and the fifth stay the same, and the third moves by a half step. P connects a major triad to its parallel minor counterpart and vice versa. David Lewin called this move SLIDE, and neo-Riemannian theorists often call it P’ or “P prime,” because it’s the opposite of the connection they call P, which is short for parallel. You’re exactly right that the “connective tissue” of the chord change is the Bb common tone. I don’t think it’s super common in rock music, which might be part of why it sounds so fresh in the Pink Floyd example. It’s perhaps especially common in the triadic minimalism of composers like Philip Glass. The move from Gm to GbM is definitely not a standard “classical” progression, although it does start to happen more and more in the late Romantic era and in lots of Impressionist and other neo-tonal styles.
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