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A large Consequent
The 2 swings involved here are of DOMINANT/TONIC nature,
one in the Diatonic Minor Mode and the other in the Diatonic Major Mode,
the first with the chords Dm6/Am7, Dm6/Am7, Dm6/Am 7, Dm6/Am7, numberedw4444, and
the second with the chords G7/C6, G7/C6, G7/C6, G7/C, numbered M4444,
with the Am7 becoming C6, at chord 8, with a Metamorphosis 4,
these 2 chords even maintaining the same dispositions throughout the evolution of the 16 chords.
The chords of Dm6 being (on the average) a third higher than the chords of G7,
the 4 Performance lines end up by being a diatonic second higher in the antecedent.
To indicate this example completely in the major mode,
the first 8 chords would be numbered M6*6*6*6*,
with the COUNTER/TONIC cells in the Shadows, 3 notches higher in the Window,
and the last 8 chords remaining M4444.
M6*6*6*6* 4444
Only the M6*6*6*6* has a canonic beginning
which could easily be "filled in" by referring to bars 5-6-7.
The M4444 section was left complete to show the flow of the canonic lines,
but canonic entries could be produced by starting each performance Voice on the new COMMON TONE,
the note G (BTAS) in chords 9-10-11-12.
Both the antecedent and the consequent used the Primary Disposition of the Performing Voices
wiith the ascending Orbit Line in the Bass Voice.
A large Antecedent
It is possible to invert each cell of the preceding example to produce weaker cells, of a TONIC/DOMINANT nature,
the antecedent with the chords Am7/Dm6, Am7/Dm6, Am7/Dm6, Am7/Dm6, numbered w3333, and
the consequent with the chords C6/G7, C6/G7, C6/G 7, C6/G, numbered M3333,
with the Am7 becoming C6, at chord 9, with a Metamorphosis 4.
Once again, to indicate this example completely in the major mode,
the first 8 chords would be numbered M7*7*7*7*7*,
with the TONIC/COUNTER cells in the Shadows, 3 notches higher in the Window,
and the last 8 chords remaining M3333.
M7*7*7*7* 3333
Only the antecedent M7*7*7*7* has a canonic beginning
which could easily be "filled in" by referring to bars 5-6-7.
The consequent M3333 section was left complete to show the flow of the canonic lines,
but canonic entries could be produced by starting each performance Voice on the new COMMON TONE,
the note G (SATB) in chords 9-10-11-12.
Once again, both the antecedent and the consequent used the Primary Disposition of the Performing Voices
wiith the ascending Orbit Line in the Bass Voice.
The last 8 chords, being numbered M3333,
confirm that this whole 16-chord example is a large Antecedent
which could precede the previous Consequent example in a large 32- chord complete Antecedent-Consequent,
abbreviatedaA / cA, aC / cC.
You can probably fit these 2 musical examples in the height of the screen and play one after the other.
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