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All the preceding examples were in Primary Disposition (with an ascending Orbit Line in the Bass Voice).
However, in order to change to a neighboring swing,
in this case from the TONIC/COUNTER Swing to the DOMINANT/TONIC Swing, and possibly back,
it will be necessary to use the Secondary Disposition (with a descending Orbit Line in the Bass Voice)
on one of the swings, to have the 4 Performance Voices remain in the same range.
This will mean accepting the inconvenience of FRAME inversion
which seems quite acceptable under these circumstances in this polyphonic style of music.
Rather than present complete 32-chord examples ready-made,
it seemed preferable to offer the choice of building them
from the basic 8-chord segments, disposed in the appropriate tables below.
First, an individual presentation of these 8-chord segments, starting with a review of those already seen.
M3333P
The first example presented was M3333P, C6/G7, C6/G7, C6/G7, C6/G,
the antecedent from the DOMINANT/TONIC Swing, in Primary Disposition, in a high range.
M4444P
Then we added the consequent M4444P from the same DOMINANT/TONIC Swing
to produce a 16-bar entity, ac, also in Primary Disposition, in a high range.
One could produce the same ac by performing these two 8-chord sections one after the other.
The Secondary Disposition
From now on, new material will be developed.
The first step is to transform the 2 existing examples from the Primary Disposition to the Secondary Disposition
(with a descending line in the Bass Voice)
by inverting the Soprano and Bass voices, and inverting the Alto and Tenor voices,
thereby displacing the example to another range, from high to medium or from medium to high.
M3333S
M3333Phas been transformed into M3333S, placing it in a lower (medium) range.
NOTE the last note in the Soprano Voice, which is D instead of G, Orbit 1 instead of Orbit 0,
to achieve a more melodic ending, and
the substitution 0(3), G instead of F, in the Alto Voice.
M4444S
M4444Phas been transformed into M4444S, placing it in a lower (medium) range.
NOTE the last note in the Bass Voice, which is C instead of G, Orbit 1 instead of Orbit 0, and
the substitution 0(3), G instead of F, in the Tenor Voice.
A neighboring Swing
The TONIC/COUNTER Swing is quite similar to the DOMINANT/TONIC Swing, a diatonic fifth lower.
M7777P
M7777Pis similar to M4444P, but placed a fifth lower,
in the same medium range as M4444S, rather than in the high range of M4444P.
NOTE the last note in the Tenor Voice, which is F instead of C, Orbit 1 instead of Orbit 0, and
the substitution 0(3), C instead of D, in the Alto Voice.
M6666P
M6666Pis similar to M3333P but placed a fifth lower,
in the same medium range as M3333S, rather than in the high range of M3333P.
NOTE the substitution 0(3), C instead of B, in the Tenor Voice.
The Orbit 1 to Orbit 0 line has been preserved, acting as Fundamental Bass,
as was the case in M3333P.
M7777S
M7777Phas been transformed into M7777S, placing it in the higher range with M4444P.
NOTE the last note in the Alto Voice, which is F instead of C, Orbit 1 instead of Orbit 0, and
the substitution 0(3), C instead of D, in the Tenor Voice.
M6666S
M6666Phas been transformed into M6666S, placing it in the higher range with M3333P.
NOTE the last note in the Soprano Voice, which is G instead of C, Orbit 1 instead of Orbit 0, and
the substitution 0(3), C instead of B, in the Alto Voice.
A RECAP of the changes made to the last chord -
1. the substitution 0(3) of Orbit 3 by Orbit 0 in all cases,
to remove the tension of the chord, and
2. the change of the Orbit 1 to Orbit 0 line into Orbit 1 to Orbit 1
except when it acts as Fundamental Bass in a sharpening progression (in M3333P and in M6666P),
to produce a more final melodic line.
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