I'm guessing that the prime example of parallelism would be the way that the Metal guys at College used to play, with the guitar tuned to drop D. They would put one finger across the two lowest strings, and another two frets higher on the D and keep that shape throughout. They rarely knew the name of the chord or the key they were playing in, and a riff would be notated on a scrap of paper as 3,3,1,3,6,6,6,5,4. (the 666 bit was vital!)
That indicated which fret each bare fifth- which they called a 'power chord' was played. The bass player would play the same pattern on the A string.
When it comes to Bossa Nova, it has always seemed to me that it is the Major Sevenths and multiple suspensions that most characterise the guitar style.
Personally, when confronted by the complex chording of a Jazzy piece, I first check the recorded version as a reference. Transcribers have a naughty habit of transcribing the harmonic content of the whole band onto the 'guitar chords'.
I often find that something like an E flat major seventh plus a flatted fifth and a minor ninth actually represents a moment when the guitar plays EbM7 while the bass is walking in semitones from the fourth to the fifth while the piano player plays a trill on the ninth.
As a player of Mandolin and steel guitar as well as six string, the conventional chordbox reflexes have been overtaken long ago. Accordingly, I use a lot of partial and unconventional chord shapes when chords are changing very rapidly. An example the other day was in a fairly fast song, the score asks for a G, followed by a Cadd9 and an Em, in a quaver timing. I play a four-string G chord on the third fret, then just d and g single notes together on the third fret, then open Em.
That contains the all the notes you need to hear, gives the correct counter melody run on the B string and is playable.
I also have to admit that I spent hours last week strugging to play a lick in seventh position and getting very frustrated with my fumbling fingers, before I realised that it was an absolute piece of cake to play in third and open.
Silly old game, this music , isn't it?
Cheers
Dave