The "
counter parallel" or "
contrast chord" is terminology used in German theory derived mainly from Hugo Riemann to refer to (US:)
relative (German: parallel)
diatonic functions and is abbreviated Tcp in major and tCp in minor (Tkp respectively tKp in Riemann's diction). The chord can be seen as the "tonic parallel reversed" and is in a major key the same chord as the dominant parallel (Dp) and in a minor key equal to the subdominant parallel (sP); yet, it has another function. According to Riemann the chord is derived through
Leittonwechselklänge (German, literally: "
leading-tone changing sounds"), sometimes called
gegenklang or "contrast chord", abbreviated Tl in major and tL in minor, or, in German literature, abbreviated Tg in major and tG in minor (standing for "Gegenklang" or "Gegenparallel"). If chords may be formed by raising (major) or lowering (minor) the fifth a whole step ["parallel" or relative chords], they may also be formed by lowering (major) or raising (minor) the root a
half-step to
wechsel, the
leading tone or
leitton. : Major Leittonwechselklänge, formed by lowering the
root a half step. : Minor Leittonwechselklänge, formed by raising the root (US) / fifth (German) a half step. For example, A is the tonic parallel of C, thus, E is the counter parallel of C. The usual parallel chord in a major key is a minor third below the root and the counter parallel is a major third above. In a minor key the intervals are reversed: the tonic parallel (e.g. E in C) is a minor third above, and the counter parallel (e.g. A in C) is a major third below. Both the parallel and the counter parallel have two notes in common with the
tonic (A and C share C & E; E and C share E & G). A chord should be analysed as a Tcp rather than Dp or sP particularly at cadential points, for example at an
interrupted cadence, where it substitutes the tonic. It is most easily recognised in a minor key since it creates an ascending
semitone step at the end of the cadence by moving from the major dominant chord to the minor counter parallel: : In
four-part harmony, the Tcp usually has a doubled third to avoid
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. : IV–V–I progression in C . Considered the strongest ending during the
common practice period. ==Footnotes==