The previous disposition was oriented toward the generation of the modes,
all in the same (natural) Window,
with the 2 major modes together top-right and the 2 minor modes together bottom-left,
and with the 2 diatonic modes together top-left and the 2 chromatic modes together bottom-right,
the modes of the same direction being isolated in opposite corners.
This disposition will, on the contrary, be oriented toward the direction of the modes,
in 2 different Windows (natural and 3 flats),
around a central TONIC chord which may be either major or minor, C(m),
with the 2 flattening modes together above and the 2 sharpening modes together below,
and with the addition of the ANTE-1 at each end,
the two best known modes sharing the same DOMINANT and the same ANTE-1.
The 2 Leading Tones of the TONIC FRAME, placed a minor second on either side, B and Ab,
will be present above and below, in the DOMINANT and in the ANTE-1 chords.
They will be alternately diatonic and chromatic depending on the Window involved,
and the DOMINANT of one side will have a Metamorphosis 4 relationship
with the ANTE-1 of the other side,
consisting of exactly the same notes, with inversion of the Primary and Secondary Notes.
The Dm7-5 chord deserves special attention if compared to the D7, a V of V,
whose F# is a Leading Tone of the GD FRAME, and not of the CG FRAME, as is the Ab.