The result of the imposition of RHYTHMIC Structure on FREE HARMONY.
         As its name implies, it is rhythmically structured but still atonal,
                   having neither Window, nor tonal center, nor concept of diatonicism/chromaticism.
         All of its chords are of DOMINANT shape and strength.

The same Transformations can be applied as to FREE HARMONY.
         See also these Examples from The Four Strong Modes
                   In Chromatic Minor, only dominant chords.
                   In Chromatic Major, only dominant chords.