To the preceding example, an antecedent with Chord Pattern M3333,
                   4 cells of TONIC/DOMINANT, in this case C⁶/G⁷, C⁶/G⁷, C⁶/G⁷, C⁶/G,
         could be added a consequent with Chord Pattern M4444 -
                   4 cells of DOMINANT/TONIC, in this case G⁷/C⁶, G⁷/C⁶, G⁷/C⁶, G⁷/C,
                             forming an entity, ac, which comes to a complete close.

M3333 4444


Both the M3333 and the M4444 sections have canonic beginnings
         which could easily be "filled in", if one desired the full harmonic version,
                   by referring to bars 5-6-7 and 13-14-15.
The antecedent and the consequent used different rhythmic possibilities of the same swing,
         but both used the Primary Disposition of the Performing Voices (SATB)
                   with the ascending Orbit Line in the Bass Voice.
NOTE the inversion of the Soprano and Bass voices, and of the Alto and Tenor voices,
         to produce the second line (the consequent).
NOTE the last note in the Soprano Voice, which is C instead of G, Orbit 1 instead of Orbit 0,
         to achieve a more final, definite ending.
NOTE also that these examples sound more and more "musical" as the rhythmic structure is developed.

The preceding examples were made using the same swing throughout, but it is possible, and interesting, to change swing without interrupting the flow of the canonic lines.