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→Counter parallel: thumb|[[Perfect authentic cadence: IV–V–I progression in C {{audio|IV-V-I in C.mid|Play}}. Considered the strongest ending during the common practice period.]] |
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In [[four-part harmony]], the Tcp usually has a doubled third to avoid [[consecutive fifths|consecutive fifths or octaves]]. This further emphasises its coherency with the tonic, since the third of the minor key counter parallel is the same as the tonic root which thus is doubled.
[[File:IV-V-I in C.png|thumb|[[Perfect authentic cadence]]: IV–V–I progression in C {{audio|IV-V-I in C.mid|Play}}. Considered the strongest ending during the [[common practice period]].]]
{{Quote|This is clearly not a simple system. Three functional categories can appear in any one of three chordal guises in either of two modes, eighteen possibilities in all: T, Tp, Tl, t, tP, tL, S, Sp, Sl, s, sP, sL, D, Dp, Dl, d, dP, dL. Why all this complexity? Perhaps the central reason is that this ingenious, occasionally convoluted system enabled Riemann to...[interpret] ostensibly remote triads...through the traditional terms of the I-IV-V-I, or now T-S-D-T, cadential schema. A sequence of A{{music|b}}-major, B{{music|b}}-major, and C-major chords, for example, could be neatly interpreted as a subdominant (sP) to dominant (dP) to tonic (T) progression in C-major, a reading...not without support in certain late-Romantic cadences.|Gjerdingen<ref name="Gjerdingen"/>}}
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