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A few words before diving into the tables below -
1. It is evidently preferable to choose the dispositions in such a way as to remain in the same range.
The high range options are in the first table and the medium range options in the second.
2. Within each swing the antecedent should precede the consequent,
M7777before M6666 and M3333 before M4444.
3. The COUNTER Swing is more antecedent-oriented than the DOMINANT Swing,
and its corresponding cells should precede the others (M7777 before M3333 and M6666 before M4444).
4. The M7777 is thus the most antecedent-oriented, and the M4444 the most consequent-oriented,
producing an ideal pair which we will see before proceeding to the tables.
M77774444SP
with both the M7777S and the M4444P in the high (original) range
M77774444PS
with both the M7777P and the M4444S in the medium (lower) range
The Tables
With M7777, as the most antecedent-oriented, at the beginning,
and M4444, as the most consequent-oriented, at the end,
two solutions are possible - M7777 6666 3333 4444 and M7777 3333 6666 4444.
M7777 6666 3333 4444has M6666 4444 at the next larger level,
and this chord pattern is a consequent and not an entity.
Nevertheless, this M64 pattern is used as an entity in some songs,
such as This Land Is Your Land and On Top Of Old Smokey.
M7777 3333 6666 4444has M3333 4444 at the next larger level,
and this M34 chord pattern is an entity, as we well know,
being possibly more frequently used than any other.
Try them out and see what you think - all the chord patterns in the tables are active.
As a matter of fact, nothing prevents you from trying out any combination you please.
You might enjoy M7777 3333 7777 4444,
in which the repeat of the M7777 gives this pattern a particuliarly melodic quality.
M7374is the chord pattern of Old Folks At Home.
For a vocal performance, these high dispositions should be transposed a fifth lower, in F.
For a vocal performance, these low dispositions are in a good range as they are, in C.
Enjoy ! and remember that all these examples were produced by purely "mechanical" means,
without the intervention of human intuition, creativity, or talent.
The Game
Description
1. In the top line one finds the 4 Chord Progressions, in their preferential order.
2. Then follow 8 different Performance Dispositions -
the first 4 in the High Range and the next 4 in the Low Range -
in each case, one finds a version with -
the Complete Harmony, with chords 5-6-7-8 an exact repetition of chords 1-2-3-4,
where there are only tetrads and no rhythmic structure whatever,
a Canonic Beginning, changing chords 1-2-3,
producing an antecedent,
a Cadential Ending, changing chord 8,
producing a consequent,
both a Canonic Beginning and a Cadential Ending,
producing a rhythmic entity, ac.
Chords 4-5-6-7 remain unchanged.
Tips and Hints
1. Despite the preferential order of the Chord Patterns,
they can be performed in any order if only to see how they sound.
2. It is a good idea to get used to the sound of the different Performance Dispositions -
the Complete Harmony is easy to recognize because chords 5-6-7-8 are an exact repeat of chords 1-2-3-4,
the Canonic Beginning is also easy to recognize because the voices come in one at a time,
but the Cadential End is not as easy to spot.
Try playing the C and the E versions, one after the other, listening closely to the last chord,
also try playing the B and the BE versions, one after the other, listening closely to the last chord,
and you will soon clearly perceive the difference.
3. You might like to try the MI-MI-MA form by using the following Performance Dispositions -
BE, BE, B, E, composed of 2 short entities followed by a longer one.
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